Glaxo's Benjamin Naishat at the San Sebastian Film Festival,

Argentinian filmmaker Benjamín Naishtat brings to life his fifth feature film, an adaptation of the novel Glaxo (2009) by Hernán Ronsino, a distinguished Argentinian novelist and Professor of Sociology.

Set against the backdrop of the provincial town of Chivilcoy, particularly in the neighborhood known as "Barrio Glaxo," named after the local pharmaceutical factory, the film unfolds over the years 1956 to 1984. Through the intertwined narratives of four teenagers, it explores the intricate relationship between micro-history and macro-history, revealing the layers of Argentina’s tumultuous past marked by political violence.

The film opens in 1984, where the teenagers have grown into adulthood, before plunging into the harrowing events of June 9-10, 1956. On that fateful night, twelve men were arrested for their involvement in a Peronist uprising against the military government, only to be taken to a landfill in José León Suárez and brutally executed. As the narrative shifts to the late 1950s and 1960s, we meet Ramón Folcada (Marcelo Subiotto), Chivilcoy's local policeman, who is revealed to be the very officer responsible for the 1956 executions. This connection establishes a profound link between the film’s events and the military dictatorship of 1955-1958, hinting at its lingering influence that extends into the 1980s and beyond, leaving audiences to ponder its repercussions today. The period of 1955-1958 becomes crucial for understanding the unfolding drama within the town.

The film’s non-linear storytelling disrupts the flow of its three narrative threads, creating pauses that challenge comprehension and evoke a sense of urgency. This fragmented structure mirrors the disjointed nature of Argentina’s political history, where integrity and loyalty are often overshadowed by betrayal and ruthlessness. In this landscape, those culpable for atrocities remain unpunished, while the innocent bear the brunt of the consequences, sometimes at the cost of their lives.

Yet, amidst this darkness, the section depicting the four friends—Vicente Vardemann (Jose Barbeito), Miguelito Barrios (newcomer Joaquín Bonadeo), Bicho Souza (Martin Armendariz), and Lucio Montesin (Franco Repetti)—during their carefree teenage years radiates a sense of hope. Their youthful exuberance and budding romances are illuminated by the vibrant presence of La Negra Miranda, Folcada’s young wife, portrayed with captivating energy by Lali Espósito. The teenagers are both enchanted and intimidated by her unrestrained spirit, especially as she dances freely at the town’s dance hall, choosing partners with audacity. The accompanying soundtrack, rich with the era's dance music, bathes this segment in warm tones and bright daylight. However, an unsettling tone emerges when Folcada asks Miguelito to teach his wife how to ride horses, a request steeped in ambiguity. In wide shots against the expansive pampas, as Miranda learns to ride, she embodies the untamed spirit of the wilderness. Is she, in her defiance, a symbol of resistance against a repressive regime? Her relationship with Folcada hints at a complex dynamic of escape and entrapment, as she navigates her identity within a stifling system. Meanwhile, Folcada is portrayed through low and tight angles, emphasizing his duplicitous and oppressive nature.

As the narrative shifts to the 1980s, the reunion of Vicente/Flaco (Esteban Bigliardi), Bicho (Alan Sabbagh), Lucio (Esteban Lamothe), and Miguelito (Manu Fanego) unfolds in shadowy, nocturnal settings, where the once-vibrant optimism of youth has been replaced by a somber awareness of the political turmoil that has shaped their lives. The choice of analogue photography beautifully intertwines the present with the past, crafting a film that fluidly navigates genres from noir to melodrama, comedy to coming-of-age. The entire cast delivers compelling performances, led by the menacing presence of Marcelo Subiotto. The original score, composed by Japanese musician Shigeru Umebayashi, whose work on In the Mood for Love remains unforgettable, resonates deeply with the characters’ personal histories, aspirations, and disillusionments.