The ongoing menace of political and economic turbulence in Argentina, although it of course affects daily life for every Argentinian citizen, does not play a noticeable role in this film, which focuses upon the loneliness of the main characters and the seclusion of the setting.
The isolated, dust-blown house is where much of the action takes place. It is made to look archetypal: such a tragic humanistic scenario as we see unfold could believably happen in any part of the world. (The only mention of a place-name is when Felix mutters his hometown, Paranà.)
Powerful visual elements are contrasted with careful use of sound, to superb effect. For example, scant dialogue forces the viewer to observe the characters' behaviour especially attentively: the less the characters say, the more closely we are forced to read into body language, gestures, and facial expressions. This aspect of El Cielito is reminiscent of Iranian and Afghan cinema. I also think that the film could be very well adapted to the stage.
Yet more incisive use of sight and sound comes in the evocative still shots of buildings and landscapes (both from afar and close up), complemented by minimal use of music and sound effects. It gives the film a pared-down, uncluttered feel, this further strengthened by the humanistic linear plot - and its woeful, sobering end.
Boredom will no doubt be inspired in some viewers; hopefully awe and emotion in others.
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