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what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

This is a dark and sometimes deeply uncomfortable drama

By the time the dramatic fireworks start popping off, each one feels earned.

The Aura is a very interesting and engaging movie filled with mystery and suspense. The story is complex and well thought out, while at the same time containing characters that are peculiar and entertaining. The main character Esteban Espinosa for instance, is a serious man who suffers from epilepsy, therefore giving off the impression that he could pass out and freeze at any moment. The director of the film cleverly uses foreshadowing and irony in order to add some literary value to the production. By Esteban having thoughts of robbing a volt at the beginning of the film, the director establishes a foreshadowing of events to come. Moreover, the appearance of blood on a dog's snout also serves as a foreshadowing for future events involving blood. Finally, the use of irony is seen in the person of Esteban, who is against killing animals, but ends up killing a man instead.

A visitor to the woodsman's lodge says the woodsman isn't returning. but he knows he has discovered the well drawn out plan in the Woodsman's private cabin and due to a picture perfect memory good enough info to keep the original planned heist going. The Casino has customers showing up for the last of the Casino Days, a planned armored car pick up, and and an air of desperation is thick. Main Character has epilepsy fits that allow him to recharge his mind and body so reality/priorities have new meaning. The Malady gives him a lifeline in the scattered sequence of events unfolding during this last weekend armored car heist. To his priorities and his not being in control. (English Subtitle)

I can't think off hand of other directors who showed so much promise yet left us so early and with such a few films to remember them by. In any case and in light of his final film, the amount of great film-making we were deprived with Fabián Bielinsky's untimely death at the age of 47 simply boggles the mind. I remember seeing years ago upon a friend's enthusiastic recommendation his previous film, NINE QUEENS, and thinking to myself how it was a darn good crime movie. But this? This plays with the greats.I won't go into plot specifics. This is the kind of film you have to soak up with no prior knowledge. Not because plot is inconsequential to the movie, it IS after all a noir film at heart, but for the fact that putting the plot in words is bound to miss the point. I'll only post the keywords IMDb associates with it and let you fill the gaps; Heist | Epilepsy | Neo Noir | Taxidermy | Armored Car Robbery What Bielinsky does brilliantly, and what is indeed the mark of all great cinema, is that he writes scenes we're familiar with from prior cinematic experience, scenes that in paper might sound anticlimactic or generic, but writes them in completely different, unexpected ways. But even before the heist-goes-wrong scenario of every good heist movie comes into play in ways at once unexpected but vaguely familiar, with a palpable sense of "that's how a heist would go wrong" not with a bang but with a whimper, Bielinsky has piled the atmosphere so thick and built for himself such an engrossing movie, that the outcome of the heist is largely inconsequential.The beauty and power of the movie rests exactly there. That it's in no rush to explain anything, that it's not anxious to impress or please yet precisely that it does. You don't meet halfways with EL AURA, you meet it on its own terms. Not as a character study of a would-be criminal (the motivation of the protagonist remains vague), but as a mood piece, a fantastical world of possibilities where the course of action seemss stunningly real.Compared to the flashy crimedies of our days where things go wrong so characters the sum of their external quirks can spout cutesy, clever dialogue at each other, EL AURA seems of another time and place. The only other film this decade that can look it straight in the eye and be worthy of its company is NO COUNTRY FOR OLD MEN. Dripping with rural atmosphere, graced with amazing camera-work and cinematography and meticulous attention to sound detail, EL AURA is nothing short of one of the greatest movies of the decade. How it didn't win major festivals is one of the great mysteries of our time. 10

It's way bad Fabián Bielinsky died (young) after making this film because Le Aura demonstrates clearly that its director has mastered his domain. There are a few puzzling moments in the script and its characters, but this isn't one of those "Don't go in that room!" thrillers, it's old-school/neo-noir; quietly intense and full of suspense.Ricardo Darín's peculiarly charactered performance is executed with such subtlety and nuance that it's hard to believe he's acting. The sound design and original score are beautiful, and so perfect for the film, they seem to be growing out of it rather than being imposed upon it. There are times when the lack of any soundtrack is deafening. The droning tensions and lilting piano ennui disappear, punctuating the moments of action with a moribund silence.Sometimes I complain when a film ends with such ambiguity it appears to be a cop-out. But not here. The ending will make you rethink the journey you were just on but it won't devalue its magnificence. This is one of those rare films where the ride is so engaging that its hard to imagine anything but disappointment merely because it does end."Aura" is what doctors use to describe the moment before falling into epileptic seizure. Ricardo Darín's character describes it as a moment of pure freedom. The inevitable is so clear that decisions are impossible, hence ... Freedom. Clarity. Bielinsky's film.