Best movie of this year hands down!

A different way of telling a story

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

During a lull in receipt of new movies at my local public library I found the BluRay of this movie on the shelves, begging for a viewing. I have found almost any recent movie on BluRay is worth seeing for the glorious picture and sound. This one fits the bill.It is set and 'filmed' digitally in beautiful Argentina, mostly in relatively high contrast B&W, with flashback scenes in full color. It works very well and looking back at my viewing experience I enjoyed the cinematography even more than the story.Yet the story is good, generally around old and new family dynamics. Set in early 2008, mid-40s Vincent Gallo is 40-ish Angelo Tetrocini, son of a famous musical conductor. He was a promising writer but left his American home and went off to Argentina where he no longer wrote. He doesn't want any connection to his family and has dropped his real name and goes only by 'Tetro'. If you look up the definition of 'tetro' you get " gloomy, sullen bleak, dismal, grim " and that pretty well characterizes Tetro. His younger brother is Alden Ehrenreich, about 18, as Bennie, about to turn 18. He has a job as a waiter on a cruise liner that has engine problems so he has a few days to look up Angie, his brother. But Tetro is not happy to see him, he makes that clear, but his wife urges Bennie to stay with them for the few days.Bennie discovers Tetro's unfinished manuscripts, which also infuriated Tetro when he found out. But they being all "unfinished" Bennie was determined to write an ending. he turned it into a stage play which became a contender at the May 2008 Patagonia festival.The movie is seldom fun to watch, well maybe the scene where Bennie, just having turned 18, is in a bathtub with two attractive young ladies. But it is a gripping drama and Gallo is ideal for the role.SPOILERS: The family dynamics were even more serious than we first knew, Bennis is not Tetro's brother, he is actually his son from a brief love affair when Tetro was 20. I'm still not sure why Tetro was rejecting even his own son but in the end it seems that there would be redemption for all.

The plot.Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.After making a few of the best movies of motion picture history Coppola self destructed and made some of the worst. Then he scaled back and started making very artsy small personal pictures. Like Orson Welles.The movie is very stylistic but unfortunately casts no talent Gallo in the lead role.For the most part I didn't care about any of the characters and so in the end, the movie looks good but has no depth,

Francis For Coppola has created a major cinematic miracle in his TETRO. The film is hauntingly beautiful to see, to hear, and to challenge the minds of the viewers. This is what great cinema is all about - taking the risks of storytelling to the impossible extremes available to only the great writer/directors such as Federico Fellini, Alain Resnais, Alexander Sokurov, François Truffaut, Jean Renoir, Akira Kurosawa, Ingmar Bergman, and Luis Buñuel. Heady company, this, but Coppola rises to the occasion with this multilayered exploration of family secrets and the dissection of the concept of 'genius' - all in the quiet guise of autobiographical references that make this work more than simply one of his many successful films. He has the grace to select artists of his own caliber to assist him: the cinematography (as complex a marriage of rich black and white and stunning color as anyone has achieved) is by Mihai Malaimare, Jr.; the musical score is by the brilliant Argentinean composer Osvaldo Golijov whose atmospheric compositions mesh perfectly with the influential moments of Puccini, Brahms, Offenbach, and Delibes; and a group of actors whose range of talent spans decades of experience and levels of finesse. It all works to one end, and that end is a celebration of a master's art of making memorable film. The setting is Buenos Aires where Tetro (Vincent Gallo), a writer of plays and novels, all incomplete and written in code and confusing manner - never having published any of his output, lives with Miranda (the brilliant Maribel Verdú), a doctor at the 'insane asylum' where she met Tetro as her patient. Into this shadowy place steps Benjamin (Alden Ehrenreich) who has run away from military school and is working as a waiter on a cruise ship docked in Buenos Aires for repairs. Benjamin seeks out his half brother Angelo (Tetro's discarded name) to try to find out about his confusing and dysfunctional family. Benjamin worships his older brother who taught him all the important aspects of art and life before Tetro disappeared, shunning the family that birthed him. Miranda convinces Tetro to allow Benjamin to stay with them despite the fact that Benjamin represents the family he deserted. Benjamin discovers the writings of his brother and manages to de-code them and writes an ending for a play that Tetro never finished. The play is produced by a small but adventuresome theater run by one Jose (Rodrigo De la Serna) and enacted by Abelardo (Mike Amigorena) and Josefina (Leticia Brédice). Upon hearing this Tetro is enraged and begins to relate the truth about the family that produced both boys - crux of which is the father figure Carlo Tetracini (Klaus Maria Brandauer) who sole claim to 'genius' in the family is his power as one of the most revered orchestral and opera conductors in the world. The remainder of this complex story unwinds the secrets long held within the family and the truths discovered by Benjamin alter his life and his perception of family and love and commitment. Many of the secretive portions of the story are revealed not only in flashbacks of the family, but also in full color dance and theater sequences focusing on 'Coppelia' and 'Tales of Hoffmann', subtle suggestions to the audience of the truths yet put into words by the actors. These sidebars are brilliantly executed and designed and performed and beg for more time on the screen. If the last portion of the film is a bit slow (a flaw comfortably corrected by the presence of the great Carmen Maura as the preeminent judge of taste and talent who goes by the symbolic name of 'Alone'), this gives the audience time to assimilate all of the information that has been inexorably revealed throughout the course of the film. TETRO is film-making at its finest. It demands much from the audience, but its rewards are considerable. Highly recommended. Grady Harp

This film cannot in any way be summarized without destroying all possible pleasure in the spectator or viewer. It is a film that is full of various keys and enigmas, each one about what follows or what precedes, anaphora and cataphora melting into catatonia. Let's say that Coppola deals here with the eternal theme of the relation between the father and the son but he multiplies the relation like with a mirror and ends up with the impossibility to know who the father is and who the son is, who the fathers are and who their sons are. He then multiplies the rivalries and desires of all type, sexual, emotional, professional or whatever among and around these men. We don't know who made who and who is made by whom, and when these binary relations turn ternary, the trios are absolutely undecipherable. The father makes the son and the son makes the father, for sure, but in what order and in what direction. This brings us to a far more interesting aspect of the film. The creative act itself, the act of procreation sublimated into a work of literature or drama, into writing, front side back and back side front and maybe some other possibilities too. Then this act is at once surrounded by the ambition, the jealousy and the greed of all those who could in a way or another put their grubby hands onto the work of art and especially the royalties that could be generated by success. And we come to the idea that it takes far more than one father to produce a work of art and the work of art is the son of far more than one father. And anyway this work of art is nothing but a lie and a confused disguise for the real reality that the main concerned people do not want to let out. Better keep a ghost in your cupboard than face the people who produced that ghost with their selfish insignificance. If you like strongly emotional films that do not fall into sentimentalese verbiage and if you do not like too much gore in your tragic films, that's the film you must not miss. So go out and watch it anywhere you can.Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Créteil, CEGID