Superclasico

A Sandrew Metronome discharge of a Nimbus production using the support of DR TV Nordisk Film & TV Fond. (Worldwide sales: the Match Factory, Perfume.) Created 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 spanish language, British dialogue)An not successful 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 on the meta-level by honoring and satirizing its very own feeling of cliche. Although it's unclear whether Argentines will embrace the pic's typecasting, a lot more than 184,000 Danes bought tickets throughout its spring domestic release. At the minimum, "Superclasico" reps happily non-PC fest entertainment for individuals who appreciate dark red, obsessed soccer fans, steamy Latin enthusiasts and also the tango. Chubby sadsack Christian (Anders W. Berthelsen) is the owner of a failing wine shop whose stock he dips into with growing frequency while moping over runaway wife Anna (Paprika Steen). A difficult-as-nails sports agent, Anna now lives in Buenos Aires and wishes to marry her star client, aficionado soccer striker Juan Diaz (Sebastian Estevanez), a cheerful fellow provided to wandering round his gorgeous rental property within the nude. When Christian and teen boy Oscar (Jamie Morton) arrive in Buenos Aires throughout the Superclasico, a nearby soccer match between longtime rival clubs, the ensuing occasions make Christian seem like even a lot more like a loser -- that's, until Juan Diaz's stern maid (Adriana Mascialino) reinstates his manhood inside a scene which involves some odd effects. Meanwhile, Anna and Juan Diaz still plan their wedding, Oscar falls deeply in love with local beauty Veronica (Dafne Schlling), an excursion guide at La Recoleta graveyard, and Christian finds a kindred spirit in misanthropic vintner Medoza (Miguel Dedovich), who shares his violent feelings toward former spouses. An arch voice-over commentary by an unseen narrator (Mikael Bertelsen), lightly mocking the figures as well as their feelings and counseling audiences regarding their hidden ideas, supplies the backbone for any playful meta-fiction layer operating throughout. Christian's dialogue, too, plays a component, because he declares nearly my way through Argentina, including Anna's relationship using the hot, more youthful Juan Diaz, to become a cliche. And also the primary thesps enjoy playing cartoonish versions of the normal screen personas: Berthelsen's drunken, schlubby but nonetheless 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 does not only show the town to its best advantage, but additionally synthesize the different romances, including their own with Veronica. Known mainly like a director of heavy drama, helmer Madsen proves equally skilled at the comedy of marital discord. He draws full-blooded comic performances from his well-cast thesps without letting the storyline tip over into farce. Golden-hued widescreen lensing by Jorgen Johansson, Madsen's longtime d.p., leads the attractive tech package, as the tango-flavored score adds appropriate texture. More beauty shots of Buenos Aires underneath the finish credits function as a farewell hug.Camera (color, widescreen), Jorgen Johansson editor, Soren Ebbe music, Jonas Struck production designer, Soren Schwartzberg art director, Pablo Maestre Galli seem (Dolby Digital SRD), Hendes Moller. Examined at Toronto Film Festival (Contemporary World Cinema), Sept. 10, 2011. Running time: 99 MIN. Contact the range newsroom at news@variety.com