When a movie's credit sequence is based around endless photographs of a blissful family, it's not hard to guess that the family will be ripped asunder before too long. And if that family is outrageously good-looking, disaster is practically assured. Both are true of Born and Bred, an Argentine film packed full of pain and suffering that nevertheless fails utterly to connect with its audience.

In reality, the most powerful moments of the film are the pre-crisis scenes. While there's nothing inherently interesting about watching a happy family interact in an outrageously adorable manner, or in seeing the man (Santiago, played by Guillermo Pfening) and wife (Martina Gusman as Milli) having great sex (If the perfection of their union was ever in doubt, those simultaneous orgasms cleared things right up.), the fact that we know something awful is about to happen infuses these everyday sequences with a wonderful, itchy tension. On several occasions the entire family is offscreen, communicating through friendly shouts from different parts of their gorgeous home. Suddenly realizing the unnamed horror might be heard and not seen, you're holding your breath in wicked anticipation, both praying everyone will walk safely back into shot, and secretly hoping for the scream of terror or pain that means the wait is at an end.