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Argentina, 1976. Claudio Morán is a successful and respected lawyer of an Argentinian town that suffers an incident with another client in the restaurant where he awaits for his wife Susana to dinner, who reclaims his table to seat and eat. Mocking him about the stranger's bad manners and poor education, Claudio's words make that the stranger suddenly explodes in rage against everybody, being forced by the staff to leave the local just when Susana arrives. When they two are in the car to back home, the stranger appears again hitting the car and running away. Leaving the car behind the stranger to stop him, this one intercepts Claudio and both have a fight. Trying to calm him, Claudio see as the stranger hits himself and takes a gun pointing Claudio and Susana, who followed his husband, but instead to kill them the stranger shoots himself in the face. Seriously injured, Claudio takes the stranger into the car and leaves Susana in home saying her that he will moves the stranger to the ...Written by
I saw this at MOMA this past January and as I see it is up on video now I thought I'd summarize.
The period in question is the nasty Isabel Peron dictatorship and the equally nasty dictatorship that replaced it. Disappearing people had been occurring in Latin America for hundreds of years and this period was no different. That is one of the underlying themes, and one of the few scenes that worked is a scene of local people going to a home and emptying it of anything of any value. It reminded me of a scene in Kazantzakis' Zorba where the moment the ageing widow dies, all of the town turns up to calmly steal everything not nailed down. The film also has some brief moments of great cinematography.
It also is clearly influenced by Fargo, True Detective and some aspects of Scandinavian noir, although wihtout the depth, dark humor, or coherence.
Ultimately though. Rojo. is entirely incoherent. it not only fails to tell a meaningful story, it fails to tell an intelligible one. it is a tedious experience to watch it, with no reward at all for the audience.
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