In the mid-seventies, a strange man arrives in a quiet provincial city. In a restaurant, without any apparent reason, he starts insulting Claudio, a renowned lawyer. The community supports the lawyer, and the stranger is humiliated and thrown out of the place. Later that night the stranger, who is determined to wreak a terrible vengeance, intercepts Claudio and his wife Susana.
Rojo is a whole new challenge compared to Benjamin Naishtat’s previous two films History of Fear (2014) and El Movimiento (2015). He still attempts to combine political imagination with cinematic rhetoric, but the narrative tension and genre adventure is something new. In the mid-1970s, a suspicious man arrives at a restaurant in a quiet local city of Argentina. The man then starts insulting a lawyer named Claudio and brings high tension into the restaurant. The strange man is humiliated and abandoned there. That night, Claudio is found dead and the hidden seal of secrecy is open. Based on the political situation of Argentina, this allegory emphasizes the geopolitical metaphor that enriches the narrative and style. The film attempts to provide a meta-commentary by introducing reenactors of legendary American actors. [JANG Byungwon]
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