Santiago ‘you should see the’ Otheguy. Made 3 notes for this one; it sort of slips by quietly and mysteriously, with a cold but intense sensuality. I kept thinking of the (now quite referential) flashback sequences in A Single Man, chiefly because of the way the black and white combine with the widescreen framing – as here – to create a kind of sun-baked heat, itchy mid-afternoon tension. Figures are often framed here with swathes of forest or river or reeds on either side, embedded in their environment as they work or walk or play football. It’s a different route to realism; certainly not naturalistic, but with plenty of the weight of Lav Diaz (though the pacing is more Antonioni, or Antonioni-via-Ceylan). Embrace of the Serpent comes to mind, too, because of the setting’s glittering forms and the stability of the perspective.
All very alluring. The story is suitably languid: a reedcutter on a North Argentinian island settles into reclusion to avoid attracting attention to his bookish interests and homosexuality, but is unable to shake off the conflicted attentions of a bullying ferryman who channels his frustrations into nativist agitation against quietly invading “misioneros,” to perilous effect. The story slips along like the silent river cutting across the island, edited evenly with only a few alerts: the cut to the first sex scene is judged perfectly; there’s a fantastically tense foreshadowing of revenge on the ferry; the final confrontation tightens to a breathless high pitch. A smart 80-odd minutes, in total.
Cumulative, not explosive. A great little story entwined around an engrossing social relief, beautifully shot.