Colin Firth is a young man who owns a revival cinema in this bizarre mystery film, set in Buenos Aires. There are several scenes inside the cinema and, as expected, film posters are used for decoration. In the first scene after the opening credits, Firth watches the end of Touch of Evil as we can hear – no image provided. Behind the projector, a poster of Irvin Kershner’s Eyes of Laua Mars (1978) is visible.
Walking down at the main entrance, Firth passes by a poster of Nicholas Ray’s Rebel Without a Cause (1955).
Seconds later, posters of Philippe Agostini’s Rencontres (1962) and Orson Welles’ Touch of Evil (1958).
Outside the theatre, there are two posters of Elia Kazan’s A Streetcar Named Desire (1951).
In Firth’s house, we can see a poster of Cecil B. DeMille’s The Ten Commandments (1956).
Back to the cinema, poster of Akira Kurosawa’s Yojimbo (1961)…
… and a poster of Frank Perry’s David and Lisa (1962).
Scenes from Martin Donovan’s Apartment Zero (1988).
