FILM 6. La mirada invisible / The Invisible Eye

La Mirada invisible / The Invisible Eye (2010)
Dir.  Diego Lerman (b. 1976, Argentina)
Writers: Martín Kohan (novel), Diego Lerman and María Meira
Cast:
Ailín Salas                Marita (María Teresa)
Julieta Zylberberg            Anita
Osmar Núñez            Biasutto
Marta Lubos                Adela
Magdalena Capobianco        Romero
Martín Kohan            Record shop employee
Plot Summary:
“Buenos Aires, March 1982. On the streets of the Argentinean capital, people are challenging the military dictatorship. The walls of the school are thick and redoubtable. A secure promise of the guaranteed preservation of the good old days of school routine from anything that may happen outside its walls in the neighboring streets, in Buenos Aires itself, in the Argentina of 1982. María Teresa is a classroom assistant at that school, an innocent - or maybe just ignorant - mistress of ceremonies, a bystander. She is twenty years old. She started work when it was still summer and Mr. Biasutto, the chief classroom assistant, made quite clear to her at her first interview the sort of attitude she is expected to adopt with students because it would not be an easy task to arrive at what he called 'the optimum surveillance point': Always on the 'qui vive', never missing a thing, but never giving cause for alarm amongst the students. A surveillance which would pick up on everything “... Written by Diego Lerman, imdb.com
Questions
1.    How does the cinematography, use of music and other sound, and narrative pacing affect the mood of this film?
2.    How does the film portray the role of the school as an institution in the shaping of ideology, in particular nationalism, paranoia and fascism?
3.    How does Marita become indoctrinated into official ideology?
4.    What sort of home and personal life does Inés have?
5.    Describe the combination of feelings she displays toward Biasutto as their relationship develops.
6.    Describe the combination of feelings she displays toward the student, as their relationship develops. 
7.    What is represented by her spying on the boys in the bathroom?
8.    How does Biasutto manipulate Marita’s vulnerability to his own advantage?
9.    Does her revenge seem predictable? Is it justified?
10.    What parallel do the filmmakers draw between Marita’s and the school-children’s situation and that of the Argentine people in the late 1970s and early 1980s?
11.    What parallel is drawn between Biasutto and the ruling junta?
12.    What implicit parallels does the film draw between fascism, sadism and perversity?