"Love Is a Fat Woman, the second feature by 27-year old Argentine director Alejandro Agresti, is at once very Argentinian and universal. If his highly stylized 'look' of extreme camera angles, carefully framed black and white compositions, and geometric camera movements recalls European and American art films, this is precisely Agresti's point. His film is simply structured around an alienated journalist who, in his personal and professional search for 'truth' finds only a variety of fictions. Wandering the streets of Buenos Aires he encounters a blind man, a bandoleon tango player, an American movie director, and an intellectual, primarily symbolic characters who are 'blind' to, sentimentalize, colonize, or put behind them Argentina's recent past. Agresti's intent is not overtly political, rather he is concerned with the form in which one speaks (or more often, does not speak) about the emotional and economic impact of life in post-dictatorship Argentina. His journalist finds an 'amnesty' or amnesia, whereby discussion is contained within stylized forms-whether an ahistorical Hollywood film on poverty, or a tango of lost hope and love." -Kathy Geritz