History Film / EsperandoLaCarroza

* SinisterShades: Antonio sports a pair of Ray Ban glasses usually associated to the police and military forces.
* StopCopyingMe: Invoked by Elvira, who accuses her neighbor of always cooking the same lunvhes she does, [[MemeticMutation in one of the most famous lines of the movie]].

* PottyFailure: one of Mamá Cora's issues that pushes Susana over the edge.

* NWordPrivileges: A rather metafictional example; Elvira says at one point, "They kicked out the old woman, as if she were a rabid dog! What are we, blacks? To be so savage? Or Jews? To have no religion?" While Elvira seems to be an average Argentinian of mainly Spanish and Italian ancestry, Jacobo Langser, one of the writters of the screenplay, was Jew.

* NWordPrivileges: A rather metafictional example; Elvira says at one point, "They kicked out the old woman, as if she were a rabid dog! What are we, blacks? To be so savage? Or Jews? To have no religion?" While Elvira seems to be a mainstream Argentinian of mainly Spanish and Italian ancestry, Jacobo Langser, one of the writters of the screenplay, was Jew.

* DirtyCop: Antonio is implied to be one. Elvia and Sergio's daughter Matilde openly says at one point that "Everyone knows Uncle Antonio [[LesCollaborateurs got rich helping]] the ''pesada''!" [[note]] the death squads that terrorised and disappeared people during the last dictatorship. [[/note]]

* ElderAbuse: While Mamá Cora isn't physically abused, she's definitely mistreated by Susana when she reaches her RageBreakingPoint, and usually yelled at by most people. The plot does make a case for the elderly who (in Latin America as well as in Spain and Italy) are usually cared for their families rather than being sent to a nursing home; but the overall neglect and mistreatment Cora receives is telling.

* SinisterShades: Antonio sports a pair of RayBan glasses usually associated to the police and military forces.

--> '''Elvira:''' What do you mean, ''who''? The old woman! You'll see how she'll bring the corpse here.

--> '''Elvira:''' [upset] God I'm so... what a disgrace! I'm mortified. It's so horrible, living around such brute and uncultured people! [puts her hand close to the parrot]

--> '''Elvira:''' [serious] The parrot shat on me. [Nora gasps]

* AttendingYourOwnFuneral: Mamá Cora thinks there's a family reunion at Sergio's, but it turns out to be her own funeral. HilarityEnsues when the family tries to avoid her finding out that.

* AnAesop: The caption of the FreezeFrameEnding that shows Mamá Cora and the other old people from the neighbourhood hurrying to the Hungarian lady's funeral reads ''A nuestros viejos queridos'' ("Dedicated to our elderly loved ones/dear old parents"), implying that the moral of the story is that we should take good care of our aging relatives. We never know when they'll be gone.

* EightiesHair: especially Elvira, Dominga and Matilde's friend Pocha.

* AFamilyAffair: there are subtle hints of UnresolvedSexualTension between [[spoiler:Sergio and Nora]], and towards the climax of the film, Susana tells [[spoiler:Nora]] she's seen them leave a LoveHotel together, and has kept the secret since. Susana also alludes to [[spoiler:Elvira]] cheating on [[spoiler:Sergio]], but this is never proven true.

* AnAesop: the caption of the FreezeFrameEnding that shows Mamá Cora and the other old people from the neighbourhood hurrying to the Hungarian lady's funeral reads ''A nuestros viejos queridos'' ("Dedicated to our elderly loved ones/dear old parents"), implying that the moral of the story is that we should take good care of our aging relatives. We never know when they'll be gone.

* BigScrewedUpFamily: overlapping with DysfunctionalFamily, the strained relationships between the richer and poorer siblings, the unwillingess to care for Mamá Cora, the implied ties of [[DirtyCop Antonio]] to the [[UsefulNotes/NationalReorganizationProcess last dictatorship]] and the reveal of [[spoiler:Nora and Sergio's affair]] turn the family reunion into something rather dark.

* BirdPoopGag: a case of ThrowItIn, the pet parrot Elvira has craps on her hand:

* BitchInSheepsClothing: both Nora and Elvira qualify, being nosy and critical of everyone around them, including each other.
* BlackComedy: and ''how!'' From Antonio cracking [[RefugeInAudacity jokes about torture methods]], to Cora fondly reminiscing [[DomesticAbuse her abusive late husband]], to the farcical slapstick comedy with the casket, the humor in this movie is as dark as it gets.

* DeathNotification: when one of Antonio's police contacts calls the family to inform they found the body of an elderly woman who threw herself under the nearby train.
* DeliberateValuesDissonance: from Mamá Cora justifying her alcoholic husband's DomesticAbuse and abusive childhood of her offspring, to the pathetic treatment of Mamá Cora; to Sergio's absolute [[LazyHusband laziness]] (he doesn't even bother to pick up the phone, ordering Elvira to do it), the affair between [[spoiler:Sergio and Nora]] and the hush-hush surrounding Antonio's shady past, modern Argentinians are probably embarrassed by the manners of the Musicardis.
* DiggingYourselfDeeper: when [[spoiler: Susana]] tells [[spoiler:Nora]] that two years ago, she saw her leave a LoveHotel with [[spoiler:Sergio]], she describes her clothes. When [[spoiler:Nora]] repeats what she said...

* DirtyOldWoman: while the Musicardis decide what to do with the ongoing funeral, Mamá Cora is seen ogling at Sergio's dirty magazine Matilde was checking out before.
* DomesticAbuse: the patriarch of the Musicardi family got drunk and beat Mamá Cora ''and'' the children up. [[JustifiedTrope Justified]] as they grew up in the 50s, when this was common.
* DramaticIrony: the Musicardis believe Mamá Cora jumped under a train, but the audience knows she just went out for a walk and ended up in Dominga's house, right in front of Sergio's.
* DrivenToSuicide: what the Musicardis think happened to Mamá Cora after they're told the body of an old woman was found in the train tracks.
* ElderAbuse: while Mamá Cora isn't physically abused, she's definitely mistreated by Susana when she reaches her RageBreakingPoint, and usually yelled at by most people. The plot does make a case for the elderly who (in Latin America as well as in Spain and Italy) are usually cared for their families rather than being sent to a nursing home; but the overall neglect and mistreatment Cora receives is telling.

* FreezeFrameEnding: the film ends with Mamá Cora and the elderly people of the neighbourhood hurrying to attend the Hungarian woman's funeral, while a children's song plays in the background. See AnAesop.

* GratuitousFrench: whenever the neighbourhood's French teacher Doña Gertrudis is around, you'll hear her say something in French. Even if it's completely out of place like saying ''Voilá!'' when Antonio [[spoiler:calls his friend asking about the dead Hungarian woman, but nobody has heard of her at the police station]].
* HilariouslyAbusiveChildhood: when Cora is fondly reminiscing her late husband, she mentions: Antonio getting beat up, Jorge being starved, and Sergio being locked in a room as punishment. But according to her, that was [[DeliberateValuesDissonance good childrearing]] and they all [[BlatantLies turned out fine!]]
* HypocriticalHumor: one of the [[MemeticMutation most quoted]] parts of the film. When Antonio comes back from talking with some relatives he says the following to Sergio:

* LargeHam: everyone chews the scenery to their heart's content. Susana and her hysterical screaming take the cake.

* LazyHusband: both Sergio and Jorge are shown lounging around while Elvira and Susana work around the house. Sergio barks at Elvira to pick up the phone; Jorge is more of a HenpeckedHusband, but doesn't lift a finger to look after his newborn daughter.

* MirthlessLaughter: after all is said and done, and Elvira and Nora hypocritically claim to always have great fun together so they should meet again next Sunday, the movie ends with Susana staring at nothing and hysterically laughing to herself, because she knows things will never be the same for the Musicardi family:

* UsefulNotes/NationalReorganizationProcess: there are plenty of allusions to Antonio being connected to the last dicatorship.
* ObnoxiousInLaws: the Musicardis straight up hate each other.

* RambunctiousItalian: taking into account the fact that millions of Italians emigrated to Argentina during the early 20th century, and that the family is called Musicardi, this is a given. Expect ''lots'' of yelling and dramatic reactions from everyone.

* TheFunInFuneral: the Musicardis have no peace during Mamá Cora's funeral, first being told it's actually a Hungarian woman, then being told it's not, and ''then'' having Mamá Cora [[AttendingYourOwnFuneral show up]] alive and well.
* UnsympatheticComedyProtagonist: absolutely '''nobody''' in the film is a nice person, with the exception of Mamá Cora.
* WorldOfJerkass: again, very typical of the ''sainete'' brand of Rioplatense black comedy, none of the characters are pleasant.

* NWordPrivileges: A rather metafictional example,
--> '''Elvira:''' [eating icecream with Nora and Matilde] They kicked out the old woman, as if she were a rabid dog! What are we, blacks? To be so savage? Or Jews? To have no religion?
While Elvira seems to be a mainstream Argentinian of mainly Spanish and Italian ancestry, Jacobo Langser, one of the writters of the screenplay, was Jew.