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Check FAQAbout Guillermo
Inició su trabajo como periodista y crítico de cine en 1992. Desde entonces ha desarrollado su tarea profesional en diferentes medios gráficos. Editó durante cuatro años el anuario El mundo en…, en sociedad con la revista británica The Economist. Actualmente se desempeña como director del portal periodístico Cine Argentino.NET. Es miembro del Foro de Periodismo Argentino (FOPEA) y de la Asociación de Cronistas Cinematográficos de la Argentina (ACCA). Desde 2007 alterna su trabajo en los medios de comunicación con la docencia.
Portfolio
Crisis at Radio Continental: Unpaid Salaries, Angry Hosts, and a Station Facing Decisive Days
Radio Continental is experiencing a severe crisis characterized by unpaid salaries and growing discontent among its staff. The situation has led to a series of labor actions affecting the station's programming. Fernando Bravo, a prominent host, has publicly criticized the management for their lack of respect and failure to resolve the issues. Rumors suggest potential new investors or a sale of the station's assets, but uncertainty prevails, impacting both employees and the quality of content.
Without Codes, an almost explicit tribute to the best of noir
The film 'Sin códigos' by Thomas Arslan, a sequel and part of a trilogy, is a tribute to classic noir cinema, drawing influences from filmmakers like Michael Mann and Don Siegel. Set in Berlin, it follows Trojan, a professional thief, as he navigates a heist gone wrong. The film is praised for its narrative skill and style, though it may lack surprise for those familiar with the genre. It appeals to audiences with a nostalgic connection to noir cinema, offering a well-executed homage rather than groundbreaking innovation.
Sugar and Stars: A Recipe with Good Ingredients but Very Few Condiments
The film 'Azúcar y estrellas' directed by Sébastien Tulard, based on the life of Yazid Ichemrahen, attempts to tell a motivational story of a young man's journey to become a pastry chef. Despite its promising ingredients, the film fails to engage the audience emotionally, lacking dramatic tension and a compelling narrative. The review highlights the film's inability to evoke empathy or pride in the protagonist's achievements, resulting in a lackluster cinematic experience.
He hated his most famous role and was condemned to repeat it to the point of ridicule: 'He was fascinating, erotic, and very self-assured'
Christopher Lee's portrayal of Dracula in the 1958 film by Hammer Films became iconic, yet Lee himself grew to resent the role due to its repetitive nature and lack of depth in later sequels. Despite his personal disdain, the films were commercially successful, cementing Hammer Films' status in the horror genre. The article explores the creative process behind the original film, the changes made from Bram Stoker's novel, and the subsequent sequels that Lee found increasingly unsatisfactory. The narrative highlights the tension between artistic integrity and commercial success in the film industry.
El Jockey: Luis Ortega plays without rules and delivers a film that is impossible to overlook
El Jockey, directed by Luis Ortega, is a film that defies conventional storytelling with its imaginative and risk-taking approach. The narrative follows Remo Manfredini, a fallen jockey, as he embarks on a surreal journey of self-discovery. The film is praised for its unique blend of drama and surrealism, with standout performances by Nahuel Pérez Biscayart and Úrsula Corberó. The film's technical aspects, including its cinematography and music, contribute to its captivating nature. El Jockey is highlighted as a significant work in contemporary cinema, showcasing Ortega's distinctive vision.
Carnada swims in familiar waters, but a dramatic twist gives it a punch of originality
Carnada, directed by Hayley Easton Street, is a thriller that combines familiar elements of the genre with a dramatic subplot to enhance its appeal. The film follows five friends on a perilous journey to a nearby island, where they face both personal conflicts and the threat of a shark. The narrative explores the relationship dynamics among the group, particularly focusing on the couple Meg and Kayla, who reconcile past differences amidst the unfolding crisis. Despite budget constraints, the film effectively uses creative cinematography to convey the vastness and isolation of the sea. While it doesn't reinvent the genre, Carnada is praised for its execution and engaging storytelling.
Alice, the Devil's Twin: A New Entry in the 'Documentary Horror' Subgenre That Offers Few Scares and Fewer Ideas
The film 'Alice, la gemela del diablo' attempts to revive the horror genre by blending documentary-style elements with supernatural themes, but ultimately falls short due to unoriginal storytelling and lackluster performances. Set in a supposedly haunted house in Savannah, the narrative follows a family dealing with the aftermath of a tragic loss. Despite efforts to create psychological tension, the film struggles with forced dialogues and unconvincing acting, particularly from its lead actors. The subplot involving Anna Harriette Pittman and Tommi Rose offers some intrigue, but overall, the film fails to make a significant impact in the horror genre.
My Penguin Friend: A Successful Adaptation for the Whole Family of a Fantastically Real Story
The film 'Mi amigo el pingüino' is a heartwarming adaptation of the real-life story of Joao Pereira de Souza, who rescued a penguin named DinDim. Directed by David Schürmann and starring Jean Reno, the film explores the bond between Joao and DinDim, while incorporating fictional elements to enhance the narrative. Despite initial language barriers, the film successfully conveys a touching and educational story suitable for family viewing. The review highlights the film's ability to balance fictionalized events with the true story, offering a genuine portrayal of companionship and redemption.
A Giraffe on the Balcony: A Tale of Guilt and the Search for a Truth Buried Under the Mechanisms of Forgetting
Hugo Sofovich, the 'good Russian': dreamed of being an engineer, was estranged from his brother for decades, and a chance encounter reunited them at the end
Hugo Sofovich, known as the 'good Russian,' was a prominent figure in the Argentinian entertainment industry, working alongside his brother Gerardo. Despite their professional success, the brothers were estranged for decades due to personal and professional conflicts. Hugo initially pursued engineering but found his passion in writing and directing, contributing to iconic shows like 'Operación Ja Ja' and 'Polémica en el bar.' A chance encounter in Miami led to their reconciliation shortly before Hugo's death. The article highlights the brothers' complex relationship, their impact on Argentinian television, and Hugo's enduring legacy.
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