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Today and Tomorrow

A middle-class girl caught up in Argentina's economic crisis tries out prostitution to pay the rent in "Today and Tomorrow." Alejandro Chomski's attempt to use the laid-back style of the contempo Argentine on an emotionally charged subject fails to involve auds in the heroine's problem, which paradoxically seem largely self-induced.

A middle-class girl caught up in Argentina’s economic crisis tries out prostitution to pay the rent in “Today and Tomorrow.” Making his feature bow, Alejandro Chomski’s attempt to use the laid-back style of the contempo Argentine on an emotionally charged subject fails to involve auds in the heroine’s problem, which paradoxically seem largely self-induced. The only thing holding the film together is Antonella Costa’s wired perf in the main role, but it’s too little to bank on with foreign viewers.

Habitually late for waitressing, would-be actress Paula (Costa, who played in Marco Bechis’ “Garage Olimpo”) loses her job, just as she’s threatened with eviction by her landlord. Neither father nor friends offer a loan, so she goes out one night with an old school friend (Romina Ricci in a warm cameo) who shows her the streetwalking ropes. The night ends in humiliation at the hands of a nice Spanish john (Manuel Navarro) she tries to fool. Guillermo Nieto’s nervous camerawork, used excessively at the beginning, can’t inject life into a tale that drags from scene to scene with numbing predictability.

Today and Tomorrow

Argentina-Spain

  • Production: An MKM Producciones/Cinema Digital/Bulbek & Mas/Aldebaran Films coproduction. (International sales: Wild Bunch, Paris.) Directed, written by Alejandro Chomski.
  • Crew: Camera (color) Guillermo Nieto; editor, Alejandro Zito; music, Luchi Camorra, Adrian Dargelos; production designer, Ailli Chen. Reviewed at Cannes Film Festival (Un Certain Regard), May 22, 2003. Running time: 87 MIN.
  • With: <b>With:</b> Antonella Costa, Manuel Navarro, Romina Ricci, Carlos Duranona, Ricardo Merkin, Horacio Acosta.
  • Music By: