000			04166nam a2200325 4500
999			_c1751 _d1751
003			OSt
008			180619b ||||| |||| 00| 0 eng d
040			_cSILC
041			_aspa _bspa _hspa _jeng _jfre _jspa
046			_k2010
050			_aPN1997 _b.M573 2010
100			_a Diego Lerman
240			_aThe Invisible Eye
245			_aLa mirada invisible _c Diego Lerman _h[videorecording]= _bThe Invisible Eye
246			_aThe Invisible Eye
260			_aArgentina _bEl Campo Cine _bMMM Film Zimmermann & Co. _bAgat Films & Cie _c2010
300			_a1 videodisc (ca. 96 min.) _bsound, color. _c4 3/4 in.
440			_aDavid W. Foster Collection
500			_aBased on the book "Ciencias Morales" by Martín Kohan.
520			_aFrom case cover: Persiguiendo un vago, quizá inexistente olor a cigarillo, Marís Teresa, preceptora del Colegio Nacional Buenos Aires, comienza a esconderse en los baños de los varones para sorprender a los que fuman y llevarlos ante la autoridad. Poco a poco hace de ello un hábito oscuramente excitante. No es [?] la violación de las reglas sino de su aplicación a [?]tranza de donde surgirán la torsión y el desvío, de [?]rigurosa vigilancia de una completa rectituf, de la [?]stodia inflexible de una normalidad total y atroz. La mirada invisible, tercer largometraje de Diego Lerman (Mientras tanto, Tan de repente), está basado en la premiada novel de Martín Kohan "Ciencias morales" y fue aplaudido en el Festival de Cannes. Ambientado durante los días previos a la guerra de Malvinas en 1982, lo protagonizan Julieta Zylberberg (Géminis, La niña santa) y Osmar Nuñez (Por tu culpa, Dos hermanos). _bFrom IMDb: Buenos Aires, March 1982. On the streets of the Argentinean capital, people are challenging the military dictatorship. The walls of the school are thick and redoubtable. A secure promise of the guaranteed preservation of the good old days of school routine from anything that may happen outside its walls in the neighbouring streets, in Buenos Aires itself, in the Argentina of 1982. María Teresa is a classroom assistant at that school, an innocent - or maybe just ignorant - mistress of ceremonies, a bystander. She is twenty years old. She started work when it was still summer and Mr. Biasutto, the chief classroom assistant, made quite clear to her at her first interview the sort of attitude she is expected to adopt with students because it would not be an easy task to arrive at what he called 'the optimum surveillance point': Always on the 'qui vive', never missing a thing, but never giving cause for alarm amongst the students. A surveillance which would pick up on everything but would never be picked up on itself. A fleeting look on the face of the pervert, or the warden, or maybe the master. But if everything is out of order -even for her-, everything is transgression. And when María Teresa, hot on the trail of the merest, possibly imaginary wisp of tobacco smoke, starts hiding in the boys lavatories to catch smokers in flagrante delicto and haul them up before the authorities, slowly morphing the whole procedure into a clandestine habit of dubious piquancy; not exactly breaking the rules but bending them willy nilly, twisting, diverting them come what may but, of course, with utter correctness and obeisance to a surveillance emanating from the inflexible custodianship of a complete and atrocious normality. Surveillance, custodianship that could possibly be enforced beyond the boundaries of this enclosed world, because beyond the sheer masonry encasing this school, where the future ruling classes have studied and are studying, there is another world, there is an entire country that has virtually nothing to do with it.
538			_aDVD video; Dolby Digital 5.1; surround; NTSC; Region 4; 16:9 widescreen.
546			_aSpanish audio. Optional English, French, and Spanish subtitles.
700			_aDiego Lerman _eScreenwriter _eDirector
700			_aMaría Meira _eScreenwriter
700			_aMartín Kohan _eAuthor
700			_aJulieta Zylberberg _eActor
700			_aOsmar Núñez _eActor
700			_aAilín Salas _eActor
942			_2lcc _cDVD