Tendrils of menace creep by means of the unnerving drama “Azor,” snaking by means of each room and scene. It’s 1980 and a Swiss personal banker and his spouse are touring by means of Argentina, taking within the sights whereas he tries to wash up a large number left by a lacking colleague. Danger is in every single place — folks have disappeared, are disappearing — although you wouldn’t essentially comprehend it from the mansions they go to, the place the Swiss interlopers trade pleasantries with the Buenos Aires elite, a few of whom voice obscure warnings. Others simply smile knowingly, betraying their loyalties.
A harrowing imaginative and prescient of evil from the within, the film tracks the banker, Yvan (Fabrizio Rongione), as he journeys by means of Argentina a number of years after armed forces overthrew the federal government of President Isabel Martínez de Perón. For most of Yvan’s shoppers, life appears to go on as earlier than, with little to disrupt their cosseted indolence. With the junta ruling the nation, the rich, murmuring about nothing a lot, sip drinks by their swimming pools, tended by fleets of servants. Again and once more, Yvan apologizes for the habits of his lacking colleague, René Keys (seen briefly within the opening), a confounding determine intensely disliked by some but beloved by others.
Written and directed by Andreas Fontana, making a formally exact, tonally excellent characteristic debut, “Azor” is a low-key shocker. It has you in its cool grip from the opening shot of a shambolic-looking Keys standing in go well with and tie earlier than a flat, blurred backdrop of jungle greenery. As the digicam holds on him, he appears extra in poor health comfortable and his laughing smiles give approach to unexplained agitation. He abruptly seems to be like a person looking for an exit. As the story unfolds, this perturbation suffuses the film. It shapes each gesture, sidelong look and indirect remark, turning an outwardly routine enterprise journey right into a thriller unlocked solely by means of Keys.
With its swampy air of unease and the determine of the enigmatic lacking man, the important thing to the story because it had been, “Azor” vaguely evokes movies like Carol Reed’s “The Third Man” (written by Graham Greene), although with out the narrative pulse and considerations or Hollywood glamour of that cloak-and-dagger thriller. (The title Keys remembers that of Edward G. Robinson’s claims adjuster, Keyes, in “Double Indemnity.”) Certainly “Azor” has a smattering of suspense-film necessities: hushed conversations, clouds of cigarette smoke, closely armed troopers. For his half, the colorless Yvan, along with his stiff politesse and old-world agency, presents the very image of a helpful patsy.
Fontana, who’s Swiss however has lived in Argentina, takes a sideways, insistently indirect method to intrigue. Rather than stuffing the film with incidents, with intelligent turns and horny characters, empty moralizing and political grandstanding, he has whittled it to the bone. There are not any louche, swaggering spies in “Azor,” no dashing heroes, no swoony villains and little or no of what may go for Hollywood-style motion. There is as a substitute a number of seemingly innocuous small speak, the sort usually tucked in amid a film’s narrative leaps ahead. There’s chatter about Swiss faculties, high-quality lodges, household castles, the nice outdated days — all of which helps keep the veneer of normalcy.
Terrible issues occur. Yet, for probably the most half, Yvan’s shoppers, with their cash, landed estates and thoroughbreds appear largely detached to the evil informing their lives. The land, in fact, was stolen way back, although nobody, Fontana included, places it like that. Instead, when a sympathetic consumer (Juan Trench) takes Yvan and his spouse, Ines (Stéphanie Cléau), on a experience, he speaks a few stand of bushes planted by his great-grandfather. The consumer’s father known as the world the grand boulevards, invoking Haussmann, the 19th-century French official who, in service of Louis Napoleon, remade Paris by razing slums and forcing out the poor. Fontana has landed his blow; the group rides on.
Fontana doesn’t bludgeon you with explanations, declare his allegiances (they’re a given) or college you on Argentine historical past, which nonetheless comes into focus by means of the small speak and devious, sly seems to be, most notably in a terrifying scene with a Catholic monsignor (a improbable Pablo Torre Nilsson). Fontana is asking you to look and to hear, and to actually grasp what it means to behave as if the world isn’t on fireplace. Late within the film, throughout a gala crammed with laughing attendees, a zombie horde in robes and black tie, Ines talks to an aristocratic doyenne (Carmen Irionda) concerning the peculiar dialect of Swiss personal banking. One curious phrase means “to pretend you haven’t seen anything,” Ines explains, as she takes leisurely drags on her cigarette. “My husband does it very easily.”
Not rated. In French and Spanish, with subtitles. Running time: 1 hour 40 minutes. In theaters.