Uruguayan auteur Federico Veiroj (“The Apostate,” “Belmonte”) broadens his usual intimate dramatic scope to diminishing returns for his fifth feature, “The Moneychanger,” . Adapted from a novella b…
Even though Brause takes a fall and serves prison time for his crime, it doesn’t stop him from taking over Schwensteiger’s firm and taking on a less and less savory clientele. A trip to Brazil puts him in touch with Moacyr , a cold-blooded contract killer. And there’s the Argentine, “Mr. Harry,” who leaves him with an enormous amount of American dollars in battered suitcases.
In between the various financial scams, helmer Veiroj returns to Brause’s peculiar, out-of-tune domestic life with stolid, impossible-to-read, recorder-playing wife Gudrun Schwensteiger and their two not particularly talented kids. Although the workaholic Brause says he wants money to enjoy the finer things in life, the uncurious Gudrun initially shows no interest and is shocked when Brause first forges her father’s signature … on her school report.
In other hands, the screenplay might represent incendiary satire, but Veiroj fails to find the style, pace and tone that would best suit the material.
The production package offers re-creations of period buildings, cars and clothing but is otherwise unremarkable. The punning Spanish title translates as “Thus Spoke the Moneychanger.”Production : An Oriental Features, Cimarrón, Rizoma production in co-production with Pandora Filmproduktion. Producers: Charly Gutiérrez, Diego Robino, Santiago López. Co-producers: Natacha Cervi, Hernán Musaluppi, Christoph Friedel, Claudia Steffen.: Director: Federico Veiroj. Screenwriters: Arauco Hernández, Martín Mauregui, Veiroj, adapted from a novella by Juan Enrique Gruber. Camera : Hernández. Editors: Fernando Franco, Fernando Epstein. Music: Hernán Segret.
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