Karry Best movie of this year hands down!

Grimerlana Plenty to Like, Plenty to Dislike

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Vasiliy Brian Komendant This film to me is undoubtedly one of the rare and stupendous examples of what they call (in the best sense possible) - an "actors' director", or in this case, rather - an actresses' one. I shall not bore you with the plot, it is all in the respective IMDb section, instead I will tell why I consider this a must-see for anyone who appreciates stories about relationships, who enjoys and values the intricacies of a female character (in this case - two rather opposite ones) beautifully unfolded. The love-and-hate relationship between the lady of the house (a bit delusional, totally broke and trying desperately to save her face) and her mucama, played to perfection by the grand Norma Aleandro and the fantastic discovery of Jorge Gaggero - Norma Argentina. What amazes me is how incredibly sensitive the director is to the enormous difference in characters of the actresses and their approaches, how seamlessly he makes that gap serve the purpose of his brilliantly written story. Every scene is a master class in subtlety, wit and purposefulness. In my view, many new directors will benefit enormously if they watch the film with an open mind. I was astonished by the fact that Ms. Argentina had never appeared on screen or stage before, she is breathtakingly effective in every shot, and the honest simplicity she contrasts to Aleandro's sophistication is a delight to observe. Absolutely recommended - the film is made with very apparent love for the woman, for Argentina and exquisite artistic taste and mastery. 10/10 from me.

lfeet Cama adentro is a no-action movie that seems slow at times, but does a fantastic job capturing a surprising bond between women and their pride in a time of separate struggles. This movie is similar to other Latin American films in that it depicts the reality of friendships, the relationship between a lady and her help and the down turning economy that forced many people during the 21st century to struggle between dignity and survival. The slow tone of the movie illustrates both woman's tough lives at the current time; it makes it seem like the maid has tried to quit for a long period of time before finally resigning and it emphasizes the number of unsuccessful days and attempts Beba makes to try get enough money to afford her loyal Dora: her maid and only companion. The slow tone is not a boring tone though, it spares us tedious insignificant details that other movies may take the time to include. Another factor that stresses the depressing situation without verbal description is the repetition of monotonous activities that the Beba is constantly bringing up which are her hopeless attempt to sell a beauty line, her constant need for whisky and her detached daughter that Beba is naively dependent on. Hitting the emotion part of the audience, Jorge Gaggero manages to combine a realistic and depressing situation with characters that are both lovable. Capturing certain facial expressions and character interaction along with the camera angles and the mood he produces we get a real sense of pain and hard times along with the final resolution of happiness.

Roland E. Zwick Beautifully written and directed by Jorge Gaggero, "Live-in Maid" is a bit like an Argentine version of "Driving Miss Daisy." Beba (Norma Aleandro) is an aging divorcée from the privileged upper classes whose ever-worsening financial situation is making it harder and harder for her to maintain herself in the style to which she is accustomed - including paying the salary of Dora (Norma Argentina), her loyal but long-suffering housekeeper who has put up with her boss' moodiness, petulance and condescending attitude for thirty years now. Yet, as in "Miss Daisy," the relationship between these two women cannot be pigeonholed quite so neatly. In fact, their story, rich in ambiguity and emotional complexity, comes to reflect in miniature the much broader conflict that exists between the ruling class and the servant class in our society. In truth, there is no logical reason why these two individuals from wildly divergent social backgrounds should even be expected to get along at all. Certainly, Dora has every reason to resent Beba for her privilege, her rank and the often imperious manner in which she treats her. Yet, in her own way, the stoic, taciturn Dora comes to pity Beba for the hard times, both financially and emotionally, that the previously pampered woman suddenly finds herself going through. Indeed, things get so bad for Beba that she is forced to sell virtually everything she owns to keep herself afloat, and even has to humiliate herself by trading merchandise for food in a second-rate cafeteria. In addition, Beba's grown daughter wants to play as little a part in her mother's life as possible. In the same way, although Beba clearly doesn't treat Dora as her equal, she understands deep down inside that this "subordinate" is also probably the only real companion left to her in the world, the one person she can reach out to for comfort and support. The relationship between them may be one of mistress and servant, but the two parties also have much that unites them, including the problems common to women their age, their concomitant struggles with money, and the fact that fate has thrust them together for such prolonged and extended periods of time that they can't help but get to know one another on an intimate level. It is the discovery of their common humanity, brought about by this enforced closeness, that finally allows their relationship to blossom into a friendship between equals that crosses class lines.On a sociological level, the movie points out the irony that it is the people with the most power who, when the chips are down, are really the most helpless and fragile - and the people with the least power who are the most persevering and tough and seemingly most equipped to cope with the vicissitudes of life. Superbly understated performances by the pair of Normas - their scenes together are really quite breathtaking and quietly masterful - as well as flavorful and subtle storytelling make "Live-in Maid" an intensely poignant, wholly believable and thoroughly absorbing experience throughout.

abelardo64 This is a film I can't shake out of my mind. The upper class woman, a remarkable Norma Aleandro, faces the economical horrors Argentina went through in 2001 and as a consequence she can't afford to pay her live in maid, the sensational Norma Argentina, that was at her service for a quarter century. The film doesn't tell you anything but shows you everything even the most invisible of details. Pride and humbleness co-mingling, switching places in a pacific duel of profound, silent emotions. The stories painted in both actresses faces are nothing less than extraordinary and I've them both in my mind daily since I saw the film for the first time, weeks ago.