Aballay looks wonderful. The landscapes are spectacular and cinematographer Claudio Beiza has an eye for arresting framings. But director Fernando Spiner’s narrative is elliptical, driven almost entirely by notions of revenge and family honour. This is where the film departs from the American-Italian conceptions of the ‘West’ as a frontier about to be incorporated into a capitalist state. There is no historical background or contextualising of gaucho culture in Aballay that I could discern. (Of course, this is only relevant for a global audience – the local audience probably doesn’t need such knowledge to be spelt out. I have read that the original story by Antonio Di Benedetto was written when he was a journalist imprisoned under the junta and that it is seen as an intensely ‘Argentinian’ story which no doubt carries symbolic meaning.) The screening introduction suggested that the setting was “early 20th century” but who were the soldiers, who was Julián’s father, where was the gold heading? None of this seems to matter. Instead, the narrative moves into a more folkloric/mystical mode. A flashback reveals how Aballay (Pablo Cedrón) gave up leadership of the gang after his soulful meeting with Julián as a boy and turned to the teachings of Simon Stylites, the hermetic saint who perched on top of a column for 37 years to expiate his sins. Aballay refuses to get off his horse and retreats to the mountains where he becomes known as the ‘saint of the poor’ – only coming down to La Malaria when his former second in command, El Muerto (‘The Dead One’), terrorises the town, steals the beautiful Juana as his bride and stakes out Julián for the vultures when he attempts to save the girl.
Aballay is the Argentinian entry for foreign language film at the Oscars. I can’t imagine what the Academy voters will make of it. One of the issues will be the brutality of the violence and the treatment of the single female character who is beaten and abused, even branded. The sense of strength in the character comes from the performance by Mariana Anghileri but I think that you could argue that the film is exploitative in the way it uses her body. These aspects certainly troubled me (and I’m a fan of Peckinpah and Leone) but I am interested in these kinds of Latin American ‘Western’ and I suspect that there is a market for this internationally – though it is a long time since the popularity of Alejandro Jodorowsky’s El Topo (1970). Simon Stylites also refers to Buñuel’s Mexican production of Simon of the Desert (Simón del desierto, Mexico 1965). The full title of Aballay translates as ‘the man without fear’ and to return to the rebel gaucho, it isn’t difficult to see that opaque though the actions of these men may be to non-Argentinians, they can carry such symbolic weight for local audiences. This is a film to watch out for if it gets a wider release.
YouTube trailer (no English subs – but they aren’t really needed):