Writers: Pablo Besarón and Gabriel Lichtmann
Director: Gabriel Lichtmann
La Estrella Roja is not a mockumentary although it is promoted as such and borrows techniques from the genre. Pablo Besarón and Gabriel Lichtmann who wrote the movie do not attempt to parody a particular genre but rather use the word to indicate, although styled as a documentary, that the film is not to be taken entirely seriously. Since it concerns someone who may, or may not, have been a spy this deception seems appropriate. However, while it is possible to ascertain what the film is not; determining its actual nature and purpose is not as easy.
In the present, filmmaker Gabriel Lichtmann (played by Héctor Díaz) sets out to make a documentary about the life of ‘The Red Star’, Laila Salama (Telma Fardin), who, according to interviewees, news reports and mysterious diaries, was the daughter of an MI6 spy, a Miss Teen Beauty, Rommel’s lover, Wiesenthal’s informant and took part in the operation to capture Adolf Eichmann in Argentina. As Lichtmann’s investigations continue it becomes harder to separate fact from speculation and misinformation.
Efforts are made to give the movie an atmosphere of authenticity suitable for a documentary. Although played by Héctor Díaz, Gabriel Lichtmann is a real-life director and wrote the film with Pablo Besarón. Actual newsreel footage and real-life characters are mixed with fictional counterparts.
Yet, La Estrella Roja feels tentative as if those involved are unable to settle upon a consistent film style and instead try out several different types. There are scenes – a mysterious woman is spotted in the background – giving the impression that, in making a film about spies, the filmmakers have become caught up in an actual conspiracy. But this aspect does not develop into full-blown paranoia.
It is possible some nuance may have been lost in translation, but La Estrella Roja seems to lack focus. The extensive newsreel footage of Nazi rallies in Argentina may be intended to make a political point about the large number of war criminals rumoured to have escaped to that country after World War II. This may be appreciated by Argentineans who are familiar with the rumours but does not communicate to a wider audience. The approach does not impact upon the fictional storyline – there is, for example, no discovery of modern-day cells of sympathisers.
Although promoted as a mockumentary apart from a running gag that no-one can remember or correctly pronounce the name of the filmmaker there are few jokes and little humour in the movie.
The producers are under the impression the concluding twist is more complex than is actually the case. The use of captions over the closing credits to spell out what is readily apparent is not really necessary.
Although the authenticity of the footage in La Estrella Roja makes for a convincing documentary style film the lack of focus results in an unsatisfactory movie.
La Estrella Roja is screening at the ¡Viva! Spanish & Latin American Festival at HOME Manchester on 2nd April 2022.
