Perfectly adorable

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Senora Beba is a 50 something (approaching 60) woman who is having to learn to live with reduced circumstances. She is the perfect upper middle class rattle brained blond who is maybe really not so rattle brained.Dora is her live in maid of 30 years who is going to quit because Senora Beba can no longer pay her salary reliably.Neither one want this to happen.It is a wonderful look at life as you get older live alone and have less income.Both characters and the film are 100% real.This movie is a must see.

This is a film I can't shake out of my mind. The upper class woman, a remarkable Norma Aleandro, faces the economical horrors Argentina went through in 2001 and as a consequence she can't afford to pay her live in maid, the sensational Norma Argentina, that was at her service for a quarter century. The film doesn't tell you anything but shows you everything even the most invisible of details. Pride and humbleness co-mingling, switching places in a pacific duel of profound, silent emotions. The stories painted in both actresses faces are nothing less than extraordinary and I've them both in my mind daily since I saw the film for the first time, weeks ago.

I haven't seen a lot of Argentinian films, but I have enjoyed immensely the ones I have. This is a great example of the art-house films that are made in Argentina.Jorge Gaggero was honored not only in Argentina, but at Sundance for this work that he wrote and directed.It tells the story of a rich woman, Beba(Norma Aleandro, The Official Story), who has fallen on hard times and cannot afford to pay her electric or phone, much less her maid. The Maid, Dora (Norma Argentina in her first role), is trying to build a house on the outskirts of town and needs the money to finish, so she quits to find another job.Everything is done with grace, as Beba tries to keep up appearances, even as she has resorted to selling cosmetics door-to-door to pay the bills, or in some cases, just to eat. The dance between employer-employee becomes more and more intricate as the power relationship changes.The ending was a big surprise, but a testament to the love these two women had built up for each other over 30 years.A superb film.

This slow but involving human drama takes Argentina's recent economic meltdown as its prompt. Cama Adentro means 'live-in maid': Jorge Gaggero's sensitive film pursues the deep but uneasy relationship between the genteel, newly-impoverished Beba (Norma Aleandro) and Dora (Norma Argentina), the servant with whom she's shared her Buenos Aires apartment for almost 30 years.Sudden lack of money has flipped the pair's dependency. Unable to pay her maid for several months, lonely, prideful Beba stands to lose the only reliable company she's known (her daughter, like her husband, has previously departed - alienated, we're left to assume, by Beba's haughtiness). Dora, meanwhile, must decide whether to stay and assist her unravelling employer, or take her chances in an economy with fewer and fewer jobs.What could have become gooey and trite in the hands of a lesser director is instead rendered plausibly complex: the women struggle to preserve their dignity in straitened circumstances, and to forge a new accord based on mutuality rather than compulsion. Both Beba and Dora are endearingly flawed - the former supercilious and unyielding, the latter torn between contempt and sympathy for her former boss. Argentina is gruffly impressive as the emotionally-contained maid, while Aleandro's monstrous but piteous snob is an equally sharp portrayal. In Gaggero's measured telling, the pair's not-quite-friendship rings all the more true for being revealed with unsentimental compassion.