As a seasoned movie critic with over three decades of cinematic exploration under my belt, I find myself captivated by the audaciousness and eccentricity that Luis Ortega brings to the table with “Kill the Jockey.” This Argentine director has been a rising star in the international film scene since his debut at the tender age of 21, and it’s clear he’s not afraid to take risks. The film is a wild, whirlwind ride that seamlessly shifts from farce to gangster movie to gender-identity exploration – a testament to Ortega’s fearlessness in exploring the human condition through a kaleidoscope of narrative lenses.
Being a jockey means being both an athlete and a sidekick. Although the horse receives all the praise, its human counterpart is essentially a tag-along: appearing in control, yet influenced by the animal’s instincts. This dual role allows Remo Manfredini, the main rider featured in “Kill the Jockey,” more opportunities for anonymity than most elite athletes – though when an accident during a crucial race lands him in the hospital, his very essence starts to unravel. The film, directed by Luis Ortega of Argentina and ranked as his eighth feature, moves freely between chaotic comedy and gritty crime drama, delving into musings about gender identity. This flexibility mirrors the story’s theme of self-malleability, but it may detract from its impact. The film is entertaining yet ephemeral, with a risk of losing some viewers along the way. Boasting numerous quirky jokes and supported by the enigmatic presence of Nahuel Pérez Biscayart, it offers fun without much substance.
Since his first film “Black Box” premiered on the festival circuit in 2002, when Ortega was only 21, he has consistently been producing films. However, it was his 2018 thriller “El Angel,” which was selected for Cannes and produced by Pedro Almodóvar, that significantly boosted his visibility. Now, with “Kill the Jockey” premiering in Venice’s Competition section, Ortega’s career trajectory continues to climb. This film is intriguing, engaging, and humorous enough to catch the attention of international art house buyers, regardless of whether it wins a jury prize. Although Almodóvar did not directly involve himself this time, the impact of his manic, sensual early work can still be seen in Ortega’s films. Additionally, the cinematography style bears the mark of Timo Salminen, a regular collaborator of Aki Kaurismäki, with hints of Kaurismäki’s dry, deadpan humor mixed with a touch of Latin melodrama.
In a hazy, dreamlike sequence, the camera meanders through an eclectic group of individuals at a seedy Buenos Aires bar, interrupted by the entrance of tough characters brandishing whips. Our focus shifts to Remo (Pérez Biscayart), who’s been spending his time drinking excessively rather than preparing for his upcoming race. Forced by these racing gangsters to the track, Remo continues his defiant behavior, secretly consuming whiskey and horse tranquilizers; during the race, the drugged jockey fails to leave the starting gate. It’s revealed that this reckless conduct is a recent pattern from the once-acclaimed jockey, whose escalating alcoholism not only threatens his career but also his relationship with Abril (Ursula Corberó), a glamorous fellow jockey who is currently carrying his child.
As a movie enthusiast, I’d rephrase it like this: “I, being Remo, am not too concerned about all these issues, questioning, ‘What use are principles if they lead to madness?’ as I seem to be heading down that path. Sirena, my ruthless boss and ganglord (played by Daniel Gimenez Cacho), isn’t much into ethics either, but he’s not keen on watching his top rider self-destruct – especially since I still owe him a substantial amount of money. Forced drug testing keeps me somewhat in check, so to speak, but just when I’m about to win the most crucial race yet, disaster strikes: My horse bolts towards the fences and into traffic, leaving me hospitalized with injuries that seem life-threatening.”
Such a synopsis already makes “Kill the Jockey” sound more straightforwardly plotty than it is, leaving out as it does various gonzo diversions and hazy interludes: a delicious dance number in contrasting op-art racing silks, or languid locker-room sequences of jockeys flexing and stretching, wittily shot with the kind of libidinous gaze that has rarely been granted to these compact bodies in the annals of sports cinema. But the film takes an even more curious, slippery turn in its second half, as Remo improbably wakes from his coma not quite himself: Taking another patient’s fur coat and handbag, he leaves the hospital and roams the streets, unsure of who he is or was.
In the pursuit led by Sirena’s minions, Remo encounters a transformation that isn’t sudden but gradual: What starts as an exploratory phase with makeup evolves, in a seemingly illogical yet dream-like manner, into a comprehensive change of gender from the outside to the inside. Children they encounter perceive Remo as their mother; a new name emerges spontaneously without explanation, as if it had always been so. Despite this change, Remo’s identity continues to evolve and adapt. If “Kill the Jockey” is meant to be a trans metaphor, it’s a subtle one, though it does humorously explore the numerous identities that can reside within a single being, either successively or concurrently, due to natural development or deliberate choice. Those seeking clear messages may find this film misleading; Ortega presents a shattered reflection of a fragmented human existence, inviting us to interpret what we choose, if anything at all.
Pérez Biscayart’s lean physique and eerily comical, slightly spacey demeanor provides a grounded foundation for the movie’s abstract concepts, infusing a sense of empathy to Ortega’s haphazard narrative. There’s a hint of Buster Keaton in the actor’s melancholic, casual body language, which along with his increasingly garish makeup and absurdly bulbous head bandage, portrays a skeleton detached from its spirit. Beatriz Di Benedetto’s exceptional costume design, alternating between athletic silhouettes and disheveled thrift-store looks, supports Remo’s continuous transformation. Salminen, using his signature high-contrast lighting, presents the character in a very painterly manner – as if he’s always being painted for a portrait. Inside, everything is restless and unsettled – bubbling with agitated comedic energy, “Kill the Jockey” implies that this turbulence might be beneficial to us.
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2024-08-29 23:48