some would argue that argentinean director esteban sapir la antena be an exercise in anachronistic futility while that and while the silent film to which sapir pay homage be at the cut edge of cinema when they be make and they be outdated today and leave la antena a meaningless oddity . i would disagree . fervently . la antena meld the convention of the silent film with 21st century technology and make it the ultimate exercise in post modern film making . the film be set in the timeless the city without a voice and so call because the citizen have be render speechless by mr. tv and a dictator or medium mogul with his hair paint on . the city resemble the titular one in fritz lang seminal metropolis ( 1927 ) and perhaps 100 year before that film . it be all expressionist skyscraper and tv aerial and and animate billboard . the citizen of the city be mollify by la voz ( the voice ) and the only person with the gift of speech . her face perpetually shroud by a hood ( keep on even when she be naked ) and la voz be force to sing on mr. tv television network . but when mr. tv concoct a plan to steal the write word a well and la voz and her eyeless son join force with a renegade family in an attempt to return the freedom of speech to the people . la antena be nothing but pure cinema . burden himself with the convention of the silent film and sapir have to rely upon image to tell his story . there be sound and most notably in the almost continuous score by leo sujatovich . it evoke the best of silent movie music and as well a ingenuously work itself into the film diegesis and such a the beeping of car horn and or the rhythmic ra ta tat tat of gunfire . and and underlie the whole film be a familiar whirring and a if it be be show on an ancient projector . there be a fair amount of dialogue a well . but instead of use intertitles and sapir have the character word appear in the frame . they be large or small and fill the screen or hover meekly in the air and depend on what be be say . think a more imaginative version of the subtitle in night watch ( 2004 ) . thankfully and the word do not distract from the image . which be very fortunate indeed and because la antena boast some of the most creative and original image we have see in a long time and all capture by cristian cottet sumptuous black and white photography . there be the expressionist cityscape . the hooded singer and her eyeless son . there be the city abandon aerial and which look like the decayed remain of some colossal spider . and there the sinister dr. y and whose jabbering mouth be display on a television screen attach to his face . la antena have be criticise for rely too much on it imagery and while skimp on the allegorical depth . but and again and i would disagree . it be true that the sudden appearance of a mind control machine shape like a swastika and or the eyeless boy seemingly crucify on a star of david and feel out of place and a tad over the top in what be otherwise merely a well craft fairy tale . but the lack of overt symbol ( the two previous example aside ) work in the film favour . it allow u to make up our own mind represent to decide whether to infer political meaning and to see la antena a an allegory for fascism and the danger of capitalist monopoly and and the power and responsibility of the medium while or to just take the film at face value and a a visually stunning adventure through a world simultaneously unique and familiar . the sacrifice of explicit depth in favour of unique imagery may seem like a compromise . but and really and when a film look as good a this and it hard to care . there be more imagination and artistry in every frame of la antena than hollywood can shake a derivative stick at . evoke film almost 100 year old might be futile and but in do so and sapir may be show u what be lack in the film of today . he may be tell u that it be time for another artistic revolution . and he may be right .