End of the Century

There is a useful directness to End of the Century, a drama shaped by Lucio Castro with a firm understanding of its audience. In End of the Century, Juan Barberini provides the anchor while Ramon Pujol introduces a contrasting energy. Without revealing later complications, End of the Century opens from this situation: Two men meet in Barcelona and after spending a day together they realize that they have already met twenty years ago. The resulting its 1h 24m running time feels most convincing whenever End of the Century trusts behaviour more than explanation.

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As director of End of the Century, Lucio Castro proves dependable even when the material becomes familiar in the transitions between intimate material and larger demands. A strong scene in End of the Century often begins with a modest detail before Lucio Castro lets its meaning expand. For End of the Century, familiar choices gain value from committed execution because the central tone remains visible even during busy passages. The weakness in End of the Century is that some developments arrive well before they surprise, although Lucio Castro usually finds the original rhythm again.

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End of the Century uses its drama framework to consider communication, responsibility and the small choices that reshape relationships. For the character played by Juan Barberini, that idea gives End of the Century stakes beyond the next immediate obstacle. The recurring pressure of the central character prevents the theme in End of the Century from feeling like decoration added after the story. Lucio Castro makes End of the Century more thoughtful whenever the implications remain inside action and reaction.

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Performance is the clearest human asset in End of the Century, beginning with the committed centre provided by Juan Barberini. Ramon Pujol keeps End of the Century from settling into one emotional register by approaching the material from another angle. The presence of Mía Maestro gives the surrounding world of End of the Century additional texture without distracting from the main line. When Lucio Castro holds on a reaction, End of the Century communicates more efficiently than another explanatory exchange could manage.

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The narrative of End of the Century works from a simple but productive collision between Barcelona and the central character. Through Juan Barberini, End of the Century keeps that premise rooted in a reaction the audience can understand. Lucio Castro introduces an important relationship at a useful point, giving End of the Century a reason to change pace without abandoning its emotional line. The handling of a difficult choice is not equally fresh, yet End of the Century usually earns attention through clarity rather than surprise alone.

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End of the Century gains much of its identity from conversation edited with patience, a choice that makes the world readable as well as attractive. The contribution of the production team allows End of the Century to combine conversation edited with patience with a consistent visual language. Within its Argentina setting, End of the Century makes particularly good use of close attention to expression when the story needs to change scale. Sound and editing preserve the personality of End of the Century by supporting detail instead of announcing every intended response.

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Overall, End of the Century amounts to a satisfying recommendation with minor reservations and should suit drama viewers who value performance and emotional detail. The combination of Juan Barberini, Lucio Castro and conversation edited with patience gives End of the Century a specific identity. Although some developments arrive well before they surprise in End of the Century, the film recovers through craft and committed performance. For the audience it understands, End of the Century offers enough character to remain worthwhile after the immediate plot has faded.