Rojo ★★★★

There’s an air of unease throughout Rojo. From the opening scene, in which a man is quietly but publicly humiliated, right through to a daughter’s dance show, something simply feels uncomfortable. Even when two well-to-do couples are sharing afternoon tea and a board game, something is off - reflecting society in a pre-coup Argentina of the 1970s.
The criticisms of the regime are obvious; no one can be trusted, not even the solicitors and law enforcers. The wealthy get away with - literally – murder, and people are disappearing all the time. No one makes much of a fuss.
The creeping disquiet drew me in, and the exchanges between Dario Grandinetti and Alfredo Castro were electric.
I’m sure that there are nuances of Argentinian politics which completely passed me by, and that this is an even more powerful film than I can tell. Either way, it’s very very good.

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