Не плачь по мне, Аргентина! (Ne plach po mne, Argentina!)
[english: Don't Cry for Me, Argentina!]

This melo-dramatic series "Don't Cry for Me, Argentina!" has a well-selected female main cast that play their roles brilliantly: Nelly Uvarova and Anna Snatkina, Anastasia Zavorotnyuk, Natalia Vdovina and Daria Moroz - all were really living organic in the frames, their talented acting really made the heroines of the plot, who came to the tango school to relax and reflect at themselves ... all the women turned out to be interesting, and also so distinct

»Ekaterina Rudolfovna« is the owner of the Latin American dance club "Don't Cry for Me, Argentina!". Ekaterina easily accepted ladies into her club, believing that Latin American dances would cure depression and give a woman good confidence. Her image is rather bohemian chic: organic with gestures, and appearance, also mysterious. The dancer and actress Nelly Uvarova played this role brilliantly: "Tango in the life of her role is like the heart for a living organism. The rhythm of tango is like a heartbeat! Movements pump the flow of blood circulation! True love does not necessarily have to be spoken out about loudly, if there is tango in life. She lived with faith in this herself, and gave hope to others.

Maybe because of the summer atmosphere, or maybe because of [Link removed - login to see]. Félix Máriássy made a relationship drama with a special charme and great piano music. In that short period, when the Goulash socialism [Link removed - login to see] and the still unsuffocated liberalization in Czechoslovakia intersected, the life seemed almost optimistic.
The Czechoslovak-Hungarian co-production views a idealized everyday life of musical artists in both of those temporary exceptions of socialist regimes. The movie does not lack charm, a good script and a versatile cast.the The film is delightful and heart-warming. Jana Brejchová 's not only charming, but also a talented and exceptionally gifted actress.    Jana Brejchová runs through this production like sculptor Myslbek's allegory of Music brought to life. Her fatality, whimsy, spontaneity, playfulness and responsibility, her flow and take-off can be recognized in the girl's movements as well as in her facial expressions, and the moments when she lets silent scores ring out behind the piano and brings something dreamy to life are among the strongest. The film would have benefited if it had dealt even more with the pianist's soul.