Ultimos Dias De La Victima

Ultimos Dias De La Victima, also known as The Last Days of the Victim, is an Argentine neo-noir crime drama that was released in 1982. Renowned Argentine actor Federico Luppi leads the ensemble cast of the film, which also includes South American cinema stalwarts Soledad Silveyra and Ulises Dumont.

The film unfolds in the murky underbelly of Buenos Aires, where crime and deceit reign supreme, and presents events through the eyes of an anti-hero. The Morally ambiguous, Luppi essays the role of Carlos Rueda, a professional hitman, who is grappling with the consequences of his actions and the turmoil it creates in his personal life.

Director Adolfo Aristarain’s style of filmmaking and storytelling shines distinctly in this gripping noir film. The intricate, suspense-filled plot which follows Luppi’s character's calamitous journey is heightened by Hector Olivera's razor-sharp screenplay, based on Jose Pablo Feimann's novel. The film takes audiences on a rollercoaster of emotions as it moves towards its climax, showcasing a multitude of shades of Luppi's character.

Carlos Rueda, played by Federico Luppi, is not your quintessential protagonist. As a seasoned hitman, he orchestrates executions with frightening precision, planning them to the minutest detail. However, behind his grim exterior lies a man consumed by the darkness deep within. Luppi delivers a riveting performance as he makes Rueda's internal struggle palpable to the audience. His complex personality becomes the driving force of the film, adding a dramatic flair to the noir setting.

Soledad Silveyra as Laura, the unsuspecting woman who falls in love with Rueda, is a noteworthy presence in the film. Silveyra brings a whirlwind of emotions to the story by being Rueda's unsuspecting love interest. Ulises Dumont, on the other hand, playing Rueda's dangerous adversary, completes the main trio of the film. His menacing demeanor adds to the suspense, making the viewers anxious about Rueda's fate.

The film's mise-en-scene is soaked in noir traditions. Buenos Aires, dressed in varying shades of black and white, becomes a character in itself, reflecting Rueda's bleak existence. Cinematographer Carlos Torlaschi’s profound use of shadows and light interplays leaves an indelible mark, intensifying the overall gloominess of the narrative. The score composed by Emilio Kauderer is equally effective in setting the eerie yet captivating atmosphere of the film.

One of the most intriguing aspects of Ultimos Dias De La Victima is the exploration of the human psyche. Despite having a noir setting, the film delves deep into the personal cost that Rueda's profession exacts. How the darkness of his never-ending cycle of crime continues to eat away at his sanity becomes an essential plot point. The few moments of joy and solace that he finds in his relationship with Laura are eventually overwhelmed by the increasing paranoia, guilt, and truth of his actions.

What the film does brilliantly is refuse to justify or glorify its lead character's actions. Instead, at every turn of the script, it holds Rueda accountable for the fate he's chosen for himself. This is not a story of redemption. Rather, it's a tale of one man's twisted reality - a reality where each day might be his last.

In a nutshell, Ultimos Dias De La Victima is an Argentine crime drama par excellence. It's a labyrinth of intrigue, capturing the grim world of professional crime through the life of an experienced hitman. With finesse performances, strong narrative threads, and an invigorating atmosphere of suspense, the film does not merely entertain but probes the viewer to question morality and consequences in the context of crime. Federico Luppi’s performance stands out, but the narrative and the storytelling are equally compelling, making it a must-watch for any cinema enthusiast. The chilling reality that it throws light on makes it hauntingly beautiful and terrifying at the same time. It is Argentine noir cinema at its best.