As an admirer of Luis Ortega’s work, I find myself captivated by his unique storytelling and knack for delving into the intricacies of human nature. His latest masterpiece, “Kill the Jockey,” is a testament to his ability to create absorbing characters and weave them into absurd yet thought-provoking narratives.
Luis Ortega’s offbeat comedy “Kill the Jockey,” competing in Venice, is based around Argentina’s horse racing society. In an interview with EbMaster, he described it as a “wild, wild environment.” He found the jockeys and horse owners to be quite extraordinary, adding that they were so unpredictable and thrilling. Remarkably, these jockeys put their lives on the line in every race.
Remo Manfredini, our main protagonist, exhibits obvious psychological issues, with his heavy reliance on drugs and alcohol that leads him to stumble off his horse before it’s even galloped away. Yet, despite these problems, he maintains the poise and flair of a matador. The Argentine filmmaker who made “El Angel,” a movie about a cold-blooded killer, remarks, “There is definitely a strong sense of pride in that demeanor.”
Remo, portrayed by Nahuel Pérez Biscayart, often maintains a distance from his fellow racers and may come across as detached. This feeling of isolation is similar to that experienced by directors in this industry, who can sometimes feel disconnected and bewildered when discussing topics such as film-making with others, or for instance, a jockey struggling to understand the conversation about riding horses.
Regarding Pérez Biscayart, who won a Cesar for “120 BPM (Beats Per Minute),” Ortega comments: “He is undoubtedly our top Argentinian actor. He operates on an entirely unique plane. He’s not just a genius; he encapsulates the chaos of everything around him and thrives in the absurd.”
1. The movie carries a satirical spirit, painting Argentinian society as a dangerous and corrupt realm filled with violence. He often employs this approach as a means of maintaining perspective on life’s complexities. Essentially, it serves as a survival mechanism for him, and he aims to instill this perspective within the character, helping him navigate his own challenges.
While this story is set against the backdrop of Buenos Aires, it deviates from the conventional narrative one might expect from an Argentine film. In my perspective, I could have easily filmed this elsewhere, perhaps in Russia, as it’s essentially about people and their stories. Hence, I am content with its lack of a specific geographical identity. Timo Salminen, our Director of Photography hailing from Finland, has worked on every Aki Kaurismäki film, lending a unique, personal touch to this production that is truly remarkable. Consequently, the film possesses a distinct, unconventional visual aesthetic that sets it apart from other Argentinian films. Therefore, I am at peace with its lack of a traditional Argentine cinematic identity.
One striking element in the movie lies in the frequent occurrence of infants. The main mafia figure, Remo’s boss, is almost always seen with a baby, and Remo’s love interest, Abril (portrayed by Úrsula Corberó from “Money Heist”), is expecting a child. This aligns with one of the film’s central themes, exploring the connection between creation and destruction, a concept inspired by William S. Burroughs, as Ortega explains: “He discusses how there must be an ending for there to be a beginning.”
As a film enthusiast, I found myself deeply captivated by the topic of babies, a fascination that stemmed from my own impending parenthood. “I was on the verge of fatherhood,” I often said, “and it consumed me like nothing else. It was as if all things baby-related were constantly playing on repeat in my mind.”
One of the film’s intriguing aspects is that Remo discovers liberation while being confined. He explains, “Perhaps when you’re not preoccupied with the struggle of blending in or needing to engage with the society you inhabit, you unconsciously discard all these responsibilities. I know people who have been imprisoned, and they underwent a transformation. They became entirely different individuals.”
Following Ortega’s next project is a movie centered around a priest who develops a habit for crack cocaine, set in Bolivia. According to him, the story revolves around a priest encountering an eccentric actress, falling in love with her, and subsequently getting introduced to crack. The plot then unfolds as he travels to Bolivia to work alongside underground workers. These individuals have deep-rooted faith in God on the surface but worship a statue of the Devil when they descend into the underworld, which they perceive as the domain of evil. Ortega finds this dichotomy and the use of dynamite, easily accessible in Bolivia like cigarettes, intriguing.
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2024-08-30 00:48