In “The jockey”the new movie Luis Ortega Chosen by the Argentine Film Academy to represent our country at the Oscars, an alcoholic rider flees from the thugs sent by his boss, while his girlfriend is expecting a child with another love. Said like that, we could assume that this is a police movie.
Be careful, that rider is also a lady lost in the city, a transvestite making a fool of a mafioso, again a rider, but not on the slopes, and his boss is a capomafia with a woman’s name and a baby in his arms, or the corrupt prison director with a mystical woman at his side, and perhaps his unknown father or something similar is someone with the face of Malevo Ferreyra who appears from time to time and seems to know something that our character does not know.
Well, there are several here who don’t even know who they are, and the public doesn’t know what this is all about either. Questions of identity, one might say, and also madness, or ease, of an outstanding director. The general public knows him for “History of a clan”, “The marginal” and “The Angel”skillful productions of his brother Sebastianbut his thing is also, or rather, “Black Box”, “Monobloc”, “The Dirty Saints” and other mixtures of realism with poetry of crazy people and marginalized people, and the anguishing “Cursed summer”huge performance by his sister Juliet about a story Yukio Mishima, “Death in the Summer”. Here Mishima It is called a thoroughbred that runs on a mechanical treadmill. But that’s not the strangest thing we’ll see.
We will see, for example, a particular game of genres, the curious amalgamation of the Nordic spirit within the Latin, secret references of all kinds dedicated to the complicit spectator as well as to those who simply like to be surprised by the unknown.
True, many will come out saying that the work is more strange than good. We are not going to argue with them, but, yes, what such a hypnotic rarity, different from everything and at the same time capable of mobilizing almost everyone. Here there are characters and scenes that will remain in your memory, because Ortega has a special sensitivity, a tenderness that affects the good and the bad, and a slight sense of humor that alleviates the meaninglessness of life (and not just life). and leaves more than one person half confused. And, furthermore, he knows how to surround himself with artists who enhance him.
Creators of beautiful masks, Nahuel Pérez Biscayart, Daniel Giménez Cachothe trio Daniel Fanego, Osmar Núñez, Roberto Carnaghithe duo Úrsula Corberó-Mariana Di Girolamoand also Luis Ziembrowski, Jorge Prado, Adriana Aguirre and Roly Serrano.
Photograph, Timo Salminencoming from Finland. art direction, German Naglieri. Music, Sune Rose WagnerDanish, and background Palito Ortega, Sandro, Mozart, Piero, Leo Dan, Virus, Nino Bravo, Enrico Caruso, the Granaderos Alto Perú Fanfare marching into the night (American night?) and at the end, as a bonus for whoever stayed to watch all the closing credits, Gardelin the unusual “I am a beast”milonga Francisco Martino1926.
“El jockey” / “Kill the Jockey” (Argentina, Spain, USA, Mexico, Denmark, 2024); Dir.: Luis Ortega; Int.: Nahuel Pérez Biscayart, Ursula Corberó, Daniel Giménez Cacho, Daniel Fanego, Osmar Núñez, Roberto Carnaghi.
Source: Ambito
