Tag Archives: Thursday’s Widows

10/15/21

Audio Imagery: “Thursday’s Widows”

Amazingly, I found the movie to include not only just visual imagery but audio imagery as well; which is something I believe I have not yet experienced. There were three scenes in which seemed like certain sounds were pulled out intentionally above the others so the audience can place particular attention to them: (1) Fireworks, (2) the sound of tennis racking hitting the ball during in which reminded Carla of the assault, and (3) the sound of Gustavo hitting Carla when he felt vulnerable. 

The sounds all contained a similar repetitive and frequent harsh banging sound that could lead the audience (at least to me) to naturally develop an unpleasantness and unbearable sensation when hearing them. In addition, it is interesting to note that these sounds each involved one of these “trophies” that is intensely valued by high society (e.g., beautiful wife/girlfriend, luxury experiences, statuses). Furthermore, each of these scenes that contained the sound included an insinuation of damage/violence being inflicted onto a person. For example, in the scene involving the firework, the cinematography carefully framed the firework appearing to almost hit Tano. And in the tennis competition, the sound of the tennis ball hitting the racket reminded Carla of the assault. 

Thus, the connection between these scenes leads me to conclude that the way that the characters indulged in these ‘trophies’ is damaging to an individual. Depending on one’s worth and identity in these societal prized items would lead an individual to more harm. It was clever for the director to use the sensation of hearing in order to present this analysis to the audience.

 

10/14/21

The housewives of Altos de la Cascada

As I watched “Widows on Thursdays” I could not help but laugh at the country club depicted in the movie as I’m very familiar with these gated communities. Growing up in Argentina, they were the norm for many upper-class families and ex-pats. My friends used to live in them, and I remember just how different their lives were there in comparison to other people living in the suburbs such as myself. Here we were able to do things like roam around freely at night, which during my teens it was almost impossible to do outside without the fear of something happening to you.

Despite the amazing qualities that many people see with these communities, there’s always a fakeness that comes to it. Argentina is no stranger to economic crises, and in those people are forced to make life changes, such as how we see with Tano, Ronnie, and Martin. But it becomes so hard for them to accept their new realities. They’d rather die than have to face their wives and families with the truth, which is that they must leave this idyllic community with their friends, sports, and security.

This need to appear successful and wealthy is common in Argentine society, and we are shown the extreme measures that people would go to maintain this. What the movie is able to demonstrate is the erraticness of the Argentine economy, and that even the people living in the most secure communities are not safe from being unemployed and joining the rest of society in their struggle to make it through yet another crisis.

10/14/21

Escape from Death

In the theatrical depiction of Claudia Piñeiro’s Thursday’s Widows we are invited to view the dynamic between four men as they gather each Thursday. These men hold a position of power in relation to their perceived wealth and status of their jobs. One of the members of this group is not like the others. Ronnie stands out from his peers, as he doesn’t have a job at any point in the film. However, while this is viewed within the society depicted in the film as a negative thing, or perhaps a failure on Ronnie’s part, I argue that this saves him.

Around the 1:40 mark, after Tano’s idea of dying, Ronnie gives a moving speech on his life, showcasing the love he has for his wife and son, we as viewers can compare this to how none of the other men can claim to have the same family dynamic as this. How Ronnie and Mavy and Juan are the only family depicted with any sort of relationship. One that doesn’t revolve around money, or lying, or sex. Rather their family relationship showcases what some would consider “normal” challenges, like a troubled child. This is an active critique of the upper class issues we see depicted in Tano and Teresa’s marriage, as well as Lala and Martin’s family. As the only one of the four men who doesn’t kill himself at the end of the movie, we see his separation from the capitalist ways of the others.

Ronnie’s absence from the world that killed his friends, and then his and his family’s escape from that world at the end of the movie showcases the negative connection to capitalism and the high paying jobs of the upper class.

10/12/21

“Thursday’s Widows” and … Zombies?

“Thursday’s Widows” (2008) follows the deaths of three seemingly wealthy men, pretending to live perfect lives, ‘detached’ from Argentina’s social and economic realities. We rarely catch a glimpse of what is truly going on outside the gated and exclusive residential zone. Yet, through news clips and quick shots contrasting the slums and wealthy zones of the city, we know of the apocalyptic nature in which Argentina finds itself. People are fighting for food, suffering gas shortages, and unable to access their money from the banks. Meanwhile, in refuge within their community, the wealthy Argentinians mockingly say, “what would we do without our credit cards.”

An obvious social critique, the film has a zombie apocalyptic feel to it, a theme commonly used to reflect social anxieties through science fiction means. This technique is reminiscent of Night of the Living Dead (1968) by George Romero and his sequels, which are critiques of racial relations and capitalism. Although “Thursday’s Widows” does not actually feature zombies, there is an “us” vs “them” theme, from how they treat their house workers to how they look at the outside, scared that the images they see on the television will affect their perfect, “safe haven” and “detached-from-reality” bubble. What they do not realize until Ronnie tells the wives the truth about their husbands’ deaths, is that it is too late, the effects of the economic virus floating in Argentina has already infected them. No matter their isolation, they have already turned into zombies. Which, in a way, might have been what they wanted, as the three women affected are the ones who seemed to desire it the most. Gustavo and Carla, a problematic couple from the ‘outside,’ Martin’s harsh economic standing, which resembles the situation most of ‘outside’ Argentina is living, and Tano’s depression, which is an ‘outside’ feeling due to the economic context, are how the ‘virus’ begins to develop, resulting in their deaths, except for Carla who was innocent in the story. By the last scene, the community has turned into zombies after the husbands’ deaths. As Ronnie’s family leaves, the final stage perfectly sets their escape from repeating the same mistakes. As their car leaves the infected area, a seemingly safe space, gates, barbwire, and security guards are shown. Yet, it is just as dead on the inside, as the ‘outside.’ At some point, Lala says something like: “what if they [working-class Argentinians] come to the gates and try to enter.” Again, utilizing zombie imagery of them trying to infiltrate the community as if it had not already happened on its own. Furthermore, the three husbands who die are also the most corrupt ones, who work for foreigners and exploit their fellow nationals, which partially fuels the economic crisis—coming full circle, and referring to the karma which Ronnie makes a note of at the beginning of the movie. At last, the only ones who “make it out alive” and are to find refuge away from the infected zone are those who can still trust and love each other. As in a zombie apocalypse, you need trust to make it out alive.