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GiganteEnglish Movie Review
A supermarket security guard forms a powerful fixation on the pretty cleaning woman who scrubs the aisles during the graveyard shift in this deeply personal tale of obsession and voyeurism from first-time feature filmmaker Adrian Biniez. When the sun goes down, Jara (Horacio Camandule) clocks in to monitor the security cameras at a suburban Montevideo supermarket. The job can be pretty dull at times, so in order to keep himself occupied, Jara often passes the time watching videos, doing crossword puzzles, and playing music. One night, as Jara glances at the monitors, pretty cleaning woman Julia (Leonor Svarcas) wanders into frame and the portly security guard is immediately transfixed. With each passing day, Jara’s fixation on Julia grows stronger, to the point where he eventually begins following her outside of work, as well. Before long, Jara’s entire life is centered on Julia’s daily routine; he watches as she lounges on the beach, goes to a movie, and even as she meets with another man. When rumors of layoffs begin circulating around the supermarket and Jara discovers that Julia is one of the workers about to be handed her walking papers, the smitten security guard must choose between letting go of his obsession and laying bare his suppressed feelings for the object of his affections, or remaining silent and letting his one chance at happiness slip away. ~ Jason Buchanan, All Movie Guide

A heavyset supermarket security guard on the nightshift develops a non-threateningobsession with a floor cleaner in “Gigante,” Adrian Biniez’s slow-moving feature debut that fails to inject freshness into a one-sided tale. Produced by much the same team as the superior “Whisky” (which Biniez appears in as a thesp), the pic fits all the criteria for Hubert Bals funding with its lackluster pacing and marginal development, though occasional attempts at quirky humor generate a few chuckles. Despite drawbacks, “Gigante” has “festival” written all over, and enough programmers will make bookings to subsidize its world tour.

Thirtysomething Jara (Horacio Camandulle) goes to work with the same dull-footed gait as the rest of the nightshift employees; his job consists of watching his co-workers on video monitors, though nothing much happens except for occasional minor shoplifting. Then he notices Julia (Leonor Svarcas), a floor cleaner, and he starts taking an interest.

At first it’s just via the shop’s security cameras, but soon Jara tails her on off-hours through Montevideo. It’s immediately apparent the guy is pretty harmless: just another shy metalhead with a maturity level only slightly higher than his preteen nephew Matias (Federico Garcia). Watching Julia enjoy a horror pic at the cinema cements his attraction, and as rumors circulate of layoffs at work, Jara’s surveillance takes on ever more protective, though still unspoken, tones.

There’s nothing Hitchcockian, nor even Kieslowskian, about Jara’s obsession, and Biniez doesn’t hint at anything remotely disturbing — perhaps that’s one of the reasons why the proceedings feel more lifeless than engrossing. Starting as a lopsided love story, with Julia the object of observation, Biniez holds steady to watching Jara watch Julia, never granting the woman a life apart — and even denying her character speech until the final scene.

Camandulle has a lumbering, almost juvenile physical presence that fits with Jara’s delayed social development, though even when he finally loses control, the actor never quite seems to let go of a certain reserve; Svarcas has a lovely smile (commented on in the film) but unfortunately isn’t allowed to project much else.

The pic is not without a sense of visual style, and the helmer’s careful framing and feel for contrasting colors hold some interest, though the whole would work much better as a medium-length short. Crucially, Biniez hasn’t figured out how to use the distancing device of surveillance cameras and still maintain appeal: a gag involving Julia knocking down a toilet paper display, seen only from the video monitor, is robbed of comic potential since auds feel completely removed from the action.
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igante (2009) is an eccentric film about the period of time before meeting the one you have fallen for. Calling it a love story would not do it justice; I call it a “pre-love” story, with drama and some comedy put in the mix. It is simple yet extremely well acted and directed movie that could have easily been
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