the return of democracy and the insolent joy of The Twist portrayed in a film

Few groups better condense the pulse of the return to democracy than Los Twist with their album Bliss in motion. The premiere of the film of the same name, directed by Maxi Gutiérrez, will hit theaters on November 20, returning to that founding experience: the recording at Panda studios of the album of the same name, recorded in just twenty-nine and a half hours under the production of Charly García.

The film, starring Kevsho, Ornella D’Elía, Sofía Morandi and Julián Cerati, approaches the story from fiction: Mario (Kevsho), an ordinary teenager, accidentally sneaks into that recording and becomes, without looking for it, a witness to the birth of an album that would redefine rock’s relationship with humor, pop aesthetics and political satire. In parallel, he tries to make Ana (D’Elía) fall in love with him, a young woman linked to the band’s environment, in a journey that combines sentimental and musical initiation.

The Twist, self-confidence and irony

Beyond his anecdote, Bliss in motion It works as a mirror of a time: 1983, when the country regained freedom and rock freed itself from the militant density of the previous period. Faced with the post-dictatorship drama, Los Twist burst in with a self-confidence that dismantled solemnities. Its mix of ska, swing, rockabilly and sharp and metaphorical lyrics (“I thought it was about blind people”, “They give you the first one, they sell you the second”) offered an ironic, critical and playful look at a society that was trying to laugh again.

In the film, the spirit of Pipo Cipolatti, Fabiana Cantilo and Daniel Melingo appears translated in a pop key, with special appearances by figures such as Romina Richi, Ronnie Arias, Campi, Lalo Mir and Cipolatti himself. Without falling into nostalgia, the director reconstructs the vitality of a time in which music once again became a space for festive disobedience.

aesthetic inflection

Forty years later, Bliss in motion It remains one of the best-selling albums of Argentine rock and as a piece that marked an aesthetic turning point. The film, by revisiting that moment, remembers that laughter – in the 80s and now – can also be a form of cultural resistance.