some would argue that argentinean director esteban sapir la antena is an exercise in anachronistic futility while that and while the silent films to which sapir pays homage were at the cutting edge of cinema when they were made and they are outdated today and leaving la antena a meaningless oddity. i would disagree. fervently. la antena melds the conventions of the silent film with 21st century technology and making it the ultimate exercise in post modern film making. the film is set in the timeless the city without a voice and so called because the citizens have been rendered speechless by mr. tv and a dictator or media mogul with his hair painted on. the city resembles the titular one in fritz lang seminal metropolis (1927) and perhaps 100 years before that film. it is all expressionist skyscrapers and tv aerials and and animated billboards. the citizens of the city are mollified by la voz (the voice) and the only person with the gift of speech. her face perpetually shrouded by a hood (kept on even when she is naked) and la voz is forced to sing on mr. tv television network. but when mr. tv concocts a plan to steal the written word as well and la voz and her eyeless son join forces with a renegade family in an attempt to return the freedom of speech to the people. la antena is nothing but pure cinema. burdening himself with the conventions of the silent film and sapir has to rely upon images to tell his story. there is sound and most notably in the almost continuous score by leo sujatovich. it evokes the best of silent movie music and as well as ingenuously working itself into the film diegesis and such as the beeping of car horns and or the rhythmic ra ta tat tat of gunfire. and and underlying the whole film is a familiar whirring and as if it were being shown on an ancient projector. there is a fair amount of dialogue as well. but instead of using intertitles and sapir has the characters words appear in the frame. they are larger or smaller and filling the screen or hovering meekly in the air and depending on what is being said. think a more imaginative version of the subtitles in night watch (2004). thankfully and the words do not distract from the images. which is very fortunate indeed and because la antena boasts some of the most creative and original images we have seen in a long time and all captured by cristian cottet sumptuous black and white photography. there are the expressionist cityscapes. the hooded singer and her eyeless son. there is the city abandoned aerial and which looks like the decayed remains of some colossal spider. and there the sinister dr. y and whose jabbering mouth is displayed on a television screen attached to his face. la antena has been criticised for relying too much on its imagery and while skimping on the allegorical depth. but and again and i would disagree. it is true that the sudden appearance of a mind control machine shaped like a swastika and or the eyeless boy seemingly crucified on a star of david and feels out of place and a tad over the top in what is otherwise merely a well crafted fairy tale. but the lack of overt symbols (the two previous examples aside) works in the film favour. it allows us to make up our own minds represent to decide whether to infer political meaning and to see la antena as an allegory for fascism and the danger of capitalist monopolies and and the power and responsibility of the media while or to just take the film at face value and as a visually stunning adventure through a world simultaneously unique and familiar. the sacrifice of explicit depth in favour of unique imagery may seem like a compromise. but and really and when a film looks as good as this and it hard to care. there is more imagination and artistry in every frame of la antena than hollywood can shake a derivative stick at. evoking films almost 100 years old might be futile and but in doing so and sapir may be showing us what is lacking in the films of today. he may be telling us that it is time for another artistic revolution. and he may be right. 
some would argue that argentinean director esteban sapir la antena is an exercise in anachronistic futility while that and while the silent films to which sapir pays homage were at the cutting edge of cinema when they were made and they are outdated today and leaving la antena a meaningless oddity. i would disagree. fervently. la antena melds the conventions of the silent film with 21st century technology and making it the ultimate exercise in post modern film making. the film is set in the timeless the city without a voice and so called because the citizens have been rendered speechless by mr. tv and a dictator or media mogul with his hair painted on. the city resembles the titular one in fritz lang seminal metropolis (1927) and perhaps 100 years before that film. it is all expressionist skyscrapers and tv aerials and and animated billboards. the citizens of the city are mollified by la voz (the voice) and the only person with the gift of speech. her face perpetually shrouded by a hood (kept on even when she is naked) and la voz is forced to sing on mr. tv television network. but when mr. tv concocts a plan to steal the written word as well and la voz and her eyeless son join forces with a renegade family in an attempt to return the freedom of speech to the people. la antena is nothing but pure cinema. burdening himself with the conventions of the silent film and sapir has to rely upon images to tell his story. there is sound and most notably in the almost continuous score by leo sujatovich. it evokes the best of silent movie music and as well as ingenuously working itself into the film diegesis and such as the beeping of car horns and or the rhythmic ra ta tat tat of gunfire. and and underlying the whole film is a familiar whirring and as if it were being shown on an ancient projector. there is a fair amount of dialogue as well. but instead of using intertitles and sapir has the characters words appear in the frame. they are larger or smaller and filling the screen or hovering meekly in the air and depending on what is being said. think a more imaginative version of the subtitles in night watch (2004). thankfully and the words do not distract from the images. which is very fortunate indeed and because la antena boasts some of the most creative and original images we have seen in a long time and all captured by cristian cottet sumptuous black and white photography. there are the expressionist cityscapes. the hooded singer and her eyeless son. there is the city abandoned aerial and which looks like the decayed remains of some colossal spider. and there the sinister dr. y and whose jabbering mouth is displayed on a television screen attached to his face. la antena has been criticised for relying too much on its imagery and while skimping on the allegorical depth. but and again and i would disagree. it is true that the sudden appearance of a mind control machine shaped like a swastika and or the eyeless boy seemingly crucified on a star of david and feels out of place and a tad over the top in what is otherwise merely a well crafted fairy tale. but the lack of overt symbols (the two previous examples aside) works in the film favour. it allows us to make up our own minds represent to decide whether to infer political meaning and to see la antena as an allegory for fascism and the danger of capitalist monopolies and and the power and responsibility of the media while or to just take the film at face value and as a visually stunning adventure through a world simultaneously unique and familiar. the sacrifice of explicit depth in favour of unique imagery may seem like a compromise. but and really and when a film looks as good as this and it hard to care. there is more imagination and artistry in every frame of la antena than hollywood can shake a derivative stick at. evoking films almost 100 years old might be futile and but in doing so and sapir may be showing us what is lacking in the films of today. he may be telling us that it is time for another artistic revolution. and he may be right. ---------------------------------Answer Question Below----------------------------------

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