Hiroshima
Director Pablo Stoll
Countries Argentina, Colombia, Spain, Uruguay
Duration 80 min
Synopsis
Hiroshima is the first solo direction by the Uruguayan Pablo Stoll after the death of his companion Juan Pablo Rebella, with whom he had made the widely praised 25 Watts and Whisky. In this both hyper-realistic and surrealist slacker film, Stoll follows for 24 hours the everyday routine of his brother Juan, who seals cheese sticks in a bakery, does some household chores, goes to a barbecue and rehearses with his band . Hiroshima is an almost silent film; the only means of communication is the post-punk and techno music that we hear from Juan's Discman. The dialogues are inaudible and appear in the form of inter-titles, resulting in an uncanny mood. Stoll shows with Hiroshima that he is still in the middle of the Uruguayan scene, with cameos by Adrián Biniez (Gigante), Federico Veiroj (Acné) and Manuel Nieto Zas (La perrera). Stoll's father and his other brother are also seen. Hiroshima is dedicated to Juan Pablo Rebella.
Hiroshima is the first solo direction by the Uruguayan Pablo Stoll after the death of his companion Juan Pablo Rebella, with whom he had made the widely praised 25 Watts and Whisky. In this both hyper-realistic and surrealist slacker film, Stoll follows for 24 hours the everyday routine of his brother Juan, who seals cheese sticks in a bakery, does some household chores, goes to a barbecue and rehearses with his band . Hiroshima is an almost silent film; the only means of communication is the post-punk and techno music that we hear from Juan's Discman. The dialogues are inaudible and appear in the form of inter-titles, resulting in an uncanny mood. Stoll shows with Hiroshima that he is still in the middle of the Uruguayan scene, with cameos by Adrián Biniez (Gigante), Federico Veiroj (Acné) and Manuel Nieto Zas (La perrera). Stoll's father and his other brother are also seen. Hiroshima is dedicated to Juan Pablo Rebella.