In the post Spanish civil war years, Catalan kids would sit in circles among the ruins and tell stories, known as "aventis" (the film's original title in Catalan, its original language). ... See full summary »
Juan flees Madrid and an incestuous relationship with his sister, Ana, working at a mine on the Andalucian coast. When his friendship with Rosario, a local shop girl, becomes romance, Ana ... See full summary »
The story unfolds in Bilbao. Rocío (Emma Suárez), is in love with Mario (Antonio Banderas), a free rider with a lot of face that, to top it all, is partner of the business of her father, ... See full summary »
A girl, who lives together with her cousin who earns some money by dealing and her boyfriend who is a policeman, is regularly transporting some drugs from Morocco for her cousin. As all of ... See full summary »
Ana is an equestrian sharpshooter for a one ring circus in Madrid for a week. Marcos is a reporter doing a Sunday supplement piece. He interviews her and she invites him to dinner with the ... See full summary »
In the early Spanish Civil Post-war, in Madrid, during the most hard times of the Franco dictatorship, a group of second-rate players try to get out of their wretched lives taking advantage... See full summary »
José Luis García Sánchez
Fernando Fernán Gómez,
Antonio dotes on his mute brother and promises him a better life, symbolized by Baton Rouge. He's a gigolo who moves in with Isabel, wealthy and separated from her husband. She has nightmares of rape in her own bed, so Antonio encourages her to consult a psychiatrist; they end up in the office of Ana, a young doctor. As part of the exam, Ana visits Isabel where she catches Antonio pocketing a blank check Isabel has signed. Ana pushes him into an elaborate scheme to blackmail Isabel, making it seem she has killed her husband during a nightmare. All goes smoothly until Antonio sees the body: it's not the man he thought was Isabel's husband. In whose game is he a pawn?Written by
Smoldering looks do not make a competent film noir
Antonio Banderas was young then (mid-1980s) and he was just perfecting his smoldering STARE. He's groping breasts. He's jamming fingers in women's mouths. He's sticking other things in other places. He's the swaggering Latin star that set Madonna's and Melanie Griffith's hearts a thumpin'. But there's nothing in this movie that suggests his character is anything but surface (albeit, a constantly fornicating surface). There's hardly a character that remotely resembles a human being here. The three main characters that dance about undressed with plots and doublecrosses in their heads are there to just serve a storyline. They are not believable people.
The butch Carmen Maura is a puppy dog rich woman who hooks Banderas at a service station and never lets go. Victoria Abril as the pseudo-psychologist who helps Maura with her rape-filled nightmares is as convincing as CarrotTop acting as Napoleon. This is the kind of film where plot motivations seemingly come out of nowhere, yet the characters seem to find it perfectly natural to suddenly scheme to kill another person. There is no breath or logical unfolding to scenes, therefore, the whole piece feels contrived. What twists do occur can be seen for miles, for days, for light-years away.
The title is derived from Banderas' mute brother's (who's been silent since his mom died - why? - we're never told) desire to take a trip from South America (the film's locale) to the famed city in Louisiana. Why does the mute kid want to go there? Your guess is as good as any. It's another one of those cute "foreign" kind of things typical of international films that are there for atmosphere and not much sense. There's no sense in your visiting this Baton Rouge anytime soon. My rating * out of ****.
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