El Gran Simulador (originally titled The Great Pretender, and released in Uruguay as No a los papelones) is a 2007 political documentary directed by Argentine-American filmmaker Eduardo Montes-Bradley. The 75-minute film critiques nationalist narratives and pseudo-environmental activism in Argentina during the height of the pulp mill dispute with Uruguay. Blending satire, essay, and observational documentary, the film traces the director's pursuit of a fabricated public figure, only to uncover what he characterizes as a broader culture of deception and hysteria.
The film begins as a personal investigation into Nahuel Maciel, a disgraced journalist who once posed as a Mapuche leader and published fabricated interviews with major literary figures. Montes-Bradley follows Maciel to the Argentine city of Gualeguaychú, where he has reemerged as an activist in the protests related to the Uruguay River pulp mill dispute.
Fray Bentos Train StationStreet Sign Fray Bentos
As the story unfolds, the film departs from investigative journalism and evolves into a cinematic essay on paranoia, political theater, and the psychology of protest. The director narrates the film himself, delivering sharply critical and often ironic commentary on the nationalist fervor surrounding the environmental conflict.
Background and Political Context
Prior to the film’s release, Montes-Bradley, his wife and producer Soledad Liendo, and their two children were forced to leave Argentina due to escalating hostility from political groups and media figures opposed to the film’s message. The Uruguayan government granted the family temporary asylum, providing a safe house near Piriapolis for their protection in the weeks leading up to the premiere.
This exile underscores the volatility of the Argentina–Uruguay pulp mill dispute, as well as the dangers faced by filmmakers who challenge dominant political narratives. After the film’s debut in Uruguay, the family returned to the United States.
Premiere and Controversy
The film premiered on January 12, 2007, in Punta del Este, in a politically charged atmosphere. Its irreverent tone and portrayal of Argentine protesters—particularly the asambleístas (activist assemblies) in Gualeguaychú—sparked significant controversy. The Argentine government refused to allow the film to screen in major cities, citing national interests.
Instead, the Argentine premiere took place in Salta, on January 18, 2007. Montes-Bradley stated that Buenos Aires distributors refused to handle the film due to fear of backlash, while Salta had “always opened its doors.” The screening was supported by local producer Norberto “Negro” Ramírez and local authorities not aligned with the central government of Buenos Aires.
Critical Reception
Variety described the film as: > "Starting out as a documentary about a literary sham before morphing into a provocative, politically incorrect item about a group of ecologists working close to the Argentina-Uruguay border." (Variety, April 24, 2007)
The film was praised and criticized in equal measure for its daring approach, nonconformist tone, and refusal to adhere to conventional documentary expectations.
Themes
El Gran Simulador critiques:
Performative activism and nationalist victimhood
Media sensationalism and political manipulation
Xenophobia, paranoia, and conspiratorial thinking in Argentine culture
In interviews and in the trailer,[1] Montes-Bradley describes the film as “antipiquetero, and agains the mobs that emerged from the propaganda machine of populism." denouncing the roadblocks and protests as acts of middle-class performance rather than grassroots resistance. His narration challenges the idea of Argentina as a perpetual victim, stating: > ““For Argentines, it’s always the other: the Chinese, the Paraguayans who don’t want to work, the queen’s pirates, or the polluting Uruguayans.”.”
Style and Approach
The film is structured as a documentary-essay, using direct narration, archival footage, and original interviews. It eschews journalistic neutrality in favor of **personal interpretation**, embracing a provocative tone that questions the boundaries between sincerity and satire. The director positions himself not only as investigator but also as subject, using his camera to reflect the emotional and psychological effects of social and political spectacle.
Director's Statement
Montes-Bradley has referred to the film as a reaction to what he sees as the collective paranoia of Argentine political culture. He states that he made the film "out of frustration with the intransigence and intolerance" of his compatriots. In his words: > “I’m not a provocateur. All I want is to cross the street, but I can’t because they block my way in the name of an absurd cause.”
Legacy
Although denied wide release in Argentina, El Gran Simulador has attracted international attention for its audacious style and critical voice. It remains a notable example of Latin American political cinema, challenging traditional documentary conventions while engaging with timely regional conflicts.
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