Superclasico

A Sandrew Metronome relieve a Nimbus production while using support of DR TV Nordisk Film & TV Fond. (Worldwide sales: the Match Factory, Perfume.) Produced by Lars Bredo Rahbek, Signe Leick Jensen. Executive producer, Bo Erhardt. Directed by Ole Christian Madsen. Script, Madsen, Anders Frithiof August.With: Anders W. Berthelsen, Paprika Steen, Jamie Morton, Sebastian Estevanez, Adriana Mascialino, Miguel Dedovich, Dafne Schilling, Mikael Bertelsen. (Danish, The the spanish language language, British dialogue)An not effective Danish businessman chases his estranged wife to Argentina in "Superclasico," a willfully hackneyed Danish laffer from helmer Ole Christian Madsen ("Flame and Citron"). Part silly romantic comedy, part love letter to Buenos Aires, the pic amuses around the meta-level by praising and satirizing its own sense of cliche. Although it's unclear whether Argentines will embrace the pic's typecasting, greater than 184,000 Danes bought tickets throughout its spring domestic release. At least, "Superclasico" reps happily non-PC fest entertainment for people who appreciate dark red-colored, obsessed soccer fans, steamy Latin fanatics as well as the tango. Chubby sadsack Christian (Anders W. Berthelsen) has a failing wine shop whose stock he dips into with growing frequency while moping over runaway wife Anna (Paprika Steen). A hard-as-nails sports agent, Anna now lives in Buenos Aires and desires to marry her star client, aficionado soccer striker Juan Diaz (Sebastian Estevanez), a cheerful fellow presented to wandering round his gorgeous apartment inside the nude. When Christian and teen boy Oscar (Jamie Morton) get to Buenos Aires through the Superclasico, a close soccer match between longtime rival clubs, the ensuing occasions make Christian appear like a lot a lot more like a loser -- that's, until Juan Diaz's stern maid (Adriana Mascialino) maintains his manhood in the scene that involves some odd effects. Meanwhile, Anna and Juan Diaz still plan their wedding, Oscar falls deeply deeply in love with local beauty Veronica (Dafne Schlling), an trip guide at La Recoleta graveyard, and Christian finds a kindred spirit in misanthropic vintner Medoza (Miguel Dedovich), who shares his violent feelings toward former partners. An arch voice-over commentary by an unseen narrator (Mikael Bertelsen), gently mocking the figures in addition to their feelings and counseling audiences regarding hidden ideas, supplies the backbone for just about any playful meta-fiction layer operating throughout. Christian's dialogue, too, plays an element, while he declares nearly all things in Argentina, including Anna's relationship while using hot, youthful Juan Diaz, to become cliche. As well as the primary thesps enjoy playing cartoonish versions from the normal screen personas: Berthelsen's drunken, schlubby but nevertheless adorable loser, Steen's gimlet-eyed, fast-speaking ball-breaker and Estevanez's beefcake heartthrob. In another nice touch, Oscar's tourist photos are incorporated in upbeat montages that doesn't only show the city to its best advantage, but furthermore synthesize the various romances, including their very own with Veronica. Known mainly just like a director of heavy drama, helmer Madsen proves equally good at the comedy of marital discord. He draws full-blooded comic performances from his well-cast thesps without letting the story tip over into farce. Golden-hued widescreen lensing by Jorgen Johansson, Madsen's longtime d.p., leads the attractive tech package, because the tango-flavored score adds appropriate texture. More beauty shots of Buenos Aires beneath the finish credits be the farewell hug.Camera (color, widescreen), Jorgen Johansson editor, Soren Ebbe music, Jonas Struck production designer, Soren Schwartzberg art director, Pablo Maestre Galli appear (Dolby Digital SRD), Hendes Moller. Examined at Toronto Film Festival (Contemporary World Cinema), Sept. 10, 2011. Running time: 99 MIN. Contact the number newsroom at news@variety.com