Vass meets major obstacles at every turn. Word leaks out to the Argentine media that Vass is finally making his film and he has to dodge them as he executes his preproduction plans. A bigger problem arises as he begins auditioning for the perfect actor to portray the king; when all of the professional auditions are rejected, Vass turns to the street. Unfortunately, the man he decides would be perfect for the role is a hippie who mistakes Vass for the police and flees. Vass eventually catches up with him, however, and convinces him to play the part.
Confident that things are looking up, Vass assembles the cast and crew and prepares to go southern Argentina to shoot the film. However, his financial backer withdraws with the film's money and flees abroad. Suddenly unable to pay any of his staff, all of his supporting actors abandon the project. Once more, Vass hits the streets to find replacements.
Finally, the group makes it to the location for shooting. By this time they are so broke that they cannot afford proper lodging and end up staying at an orphanage until an actor makes unwanted advances towards a minor and gets them kicked out. The crew, not wanting to sleep in tents, decides to leave, and the cast joins them. Despite this final crushing blow, Vass will not abandon the film and portrays the king himself, using mannequins for extras to create some of the film's most haunting and surreal scenes.
Goya Awards: Goya Best Spanish Language Foreign Film, Carlos Sorin, Argentina; 1987.
Argentine Film Critics Association Awards: Silver Condor; Best First Film, Carlos Sorin; Best New Actor, Miguel Dedovich; Best Original Screenplay, Carlos Sorin and Jorge Goldenberg; Best Supporting Actress, Villanueva Cosse; Best Supporting Actress, Ana María Giunta; 1987.
