For the first 45 minutes, Alfredo spends a lot of time wandering around Buenos Aires raging against the world to anyone who will listen. His wife, Claudia (Laura Melillo), dumped Alfredo in favor of a celebrated painter, Pablo (Carlos Roffe), and Alfredo desperately tries to convince Claudia that she has taken up with a real cad. She is not moved by his rather pathetic tirade against Pablo. Alfredo then comes up with the bright idea of calling up Pablo’s old girlfriends in an effort to uncover some dirt on the guy who’s broken up his marriage.
He eventually connects with Eloisa (Mirta Busnelli), one of Pablo’s old flames, and, when Alfredo meets her, he pretends to be his nemesis. They then kick off a strange relationship that consists of Alfredo frequently hurling abuse at Eloisa, denying he’s Pablo, then pretending to be Pablo, and generally acting like a bit of a nut.
Some of the comic scenes work in an offbeat way, and there are some inspired laugh lines. But in the end, Alfredo’s relentless self-absorption throws a wet towel on much of the comic potential here. Agresti serves up an uneven mix of lowbrow farce and midlife-crisis drama that fails to satisfy on either count.
Briski manages to make Alfredo’s depression at least seem entertaining, but Agresti’s script doesn’t make it easy to empathize with the rogue. Busnelli is strangely over-the-top as Eloisa, while Roffe and Melillo have relatively small roles.
Paul Van Brugge’s score consists of a reasonably pleasant set of Latin-flavored jazz instrumentals.