Daniel Burman Explores Male Struggles in New Film So Far, So Good

Daniel Burman, a leading Argentine director known for films about family and identity, has released 'So Far, So Good.' The movie centers on Ariel, a cartoonist with a loving wife, global fame, and money to care for his aging parents. Yet beneath this success lies a deep personal crisis that questions what success really means. Burman spoke about the film in recent interviews, drawing from his own life in Buenos Aires.

Background

Daniel Burman grew up in Buenos Aires to Polish-Jewish parents. He holds both Argentine and Polish citizenship, much like many characters in his films. Born in 1973, he first studied law but switched to film. In 1995, he started his production company, BD Cine, with Diego Dubcovsky. He co-founded the Academy of Argentine Cinema and now leads content for The Mediapro Studio US.

Burman's work often returns to the Once neighborhood, a historic Jewish area in Buenos Aires. His films explore young Jewish men navigating life there. He directed 11 feature films and produced over 25. Early shorts like 'Un Crisantemo Estalla en Cinco Esquinas' in 1998 marked the start of New Argentine Cinema.

His trilogy—'Esperando al Mesías' in 2000, 'El Abrazo Partido' in 2004, and 'Derecho de Familia' in 2006—stars Daniel Hendler as a neurotic young Jew. 'El Abrazo Partido,' also called 'Lost Embrace,' won the Silver Bear at Berlin. It follows Ariel, a character who left Poland for Argentina, facing family separation and identity issues. Pope Francis keeps a hardback of the graphic novel version.

Burman won awards worldwide: Sundance NHK for 'Todas las Azafatas Van al Cielo,' Tribeca best screenplay for 'La Suerte en tus Manos,' and the Vatican’s Robert Bresson Award at Venice in 2008 for his humanitarian view. Recent works include 'The Tenth Man' in 2016, about a son returning to Once after his father's death, and TV series like 'Yosi, the Regretful Spy' on Amazon.

Key Details

'So Far, So Good' picks up with Ariel years after 'Lost Embrace.' Now successful, he sells graphic novels worldwide. His glamorous wife travels often. He hires carers for his parents. From outside, Ariel has everything. But inside, he battles a male crisis—doubts about purpose, family roles, and legacy.

Burman uses butterflies as a symbol in the film. They represent fleeting life and transformation. Ariel reflects on what he will leave behind. The story blends humor and pain, set in Buenos Aires streets and homes familiar from Burman's past films.

Ariel's World

Ariel's life mirrors Burman's themes. In 'The Tenth Man,' a son grapples with his generous father's legacy at a Jewish foundation. Burman cast real people from the area for authenticity. He filmed in a documentary style, letting daily life shape the scenes.

"The figure of Usher haunted me, and at some point I began to wonder what the life of the son of a father who gives so generously would be like." – Daniel Burman

Burman explains his process: he builds stories from real places but adds fiction for emotional depth. For 'So Far, So Good,' he questions how men handle success when it feels empty. Ariel's fame brings pressure, not peace.

Burman's films stay light yet deep. He avoids heavy drama, mixing laughs with real struggles. Ariel's success lets him afford help, but emotional gaps remain. His parents need care; his wife is away. Butterflies flutter through scenes, hinting at change Ariel resists.

What This Means

Burman's new film speaks to men facing midlife doubts. Ariel has money and love, but questions his path. This reflects wider talks on male identity in a changing world. Success no longer guarantees happiness; people seek meaning beyond wealth.

The movie ties to Burman's life. His return to Once shows lasting roots. Films like this keep Argentine stories on global screens. Viewers see universal pains in local settings—family ties, aging parents, personal voids.

Burman plans more projects, including 'Transmitzvah' from 2024. His work influences young filmmakers in Argentina. 'So Far, So Good' may screen at festivals, following his Berlin and Sundance paths. It prompts thought on legacies: what do we pass on when life feels 'so far, so good' but not quite right?

Ariel's crisis highlights care burdens. With carers for parents, he frees time but loses connection. Butterflies symbolize fragility; one wrong move, and it's gone. Burman's fans expect honest looks at Jewish-Argentine life, now with mature twists.

The film arrives as Burman leads major studios. His shift from indie to big productions brings fresh eyes to old themes. Stories of sons and fathers continue, evolving with time. 'So Far, So Good' asks if outward wins fill inner needs.