The Long Night of Francisco Sanctis

Buenos Aires, 1977. In the midst of the dictatorship, a man receives information of the whereabouts or two people who are being searched by the military. Now he has the chance to save them, although that means risking his own life.


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  • ★★★½ review by Guille Rosero on Letterboxd

    Si hay algo que le agradezco a esta película es que en ningún momento necesitó poner en boca de alguno de sus personajes la palabra "dictadura". En eso "La larga noche" triunfa ampliamente. El período histórico se transmite mediante una puesta en escena que resalta un ambiente opresivo y la paranoia de su protagonista (tremenda actuación de Diego Velázquez) y no siente la necesidad de mostrar milicos desbordando las calles ni militantes pelilargos corriendo de ellos.

  • ★★★★ review by Alejandro Riera on Letterboxd

    More filmmakers could (and should) learn howto tell a tale simply from this film (and the sadly underrated "Monster of a Thousand Heads"). There is a wonderful sense of dread and paranoia, and that open ending...amazing.

  • ★★★½ review by Sofía Téllez on Letterboxd

    Fue la primera de tres películas que vi hoy y la única que me aburrió. No entendía mucho de qué iba porque estaba completamente descontextualizada. No fue sino hasta que acabó y googleé de qué trataba que entendí "todo": los encuadres asfixiantes, la atmósfera gris, el permanente rostro demacrado del protagonista.

    Fue dolorosamente aburrida y no pude evitar dormirme diez minutos :(

  • ★★★½ review by Peter Zingg on Letterboxd

    This film should be a model for smart young indie filmmakers. You start by acquring the rights to a terrific, gripping novel that focuses on one character (according to the actor Diego Velázquez, who plays Francisco Sanctis, the original novel is entirely told as an interior monologue). Then shoot mostly at night or in extreme close up to keep things under control. Hire a super-talented production designer, costumer and director of photography, and a talented acting crew (Velázquez is amazingly in control through every scene, and is supported by the wonderful Laura Predes and Marcelo Subiotto among others).

    Some of the inescapable atmosphere of dread created by the husband-and-wife directors reminded me of Bela Tarr. And the finely tuned minimalist spirit of the images matches the best of modern Argentine writing, like the terse words of Juan José Saer or César Aira.

    More, please!

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