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![]() ![]() He is interviewed on camera, and seen in a flashback, having just beaten Eric. The bearded, homeless drunk ( Antonio Monroi) followed around at length might be Eric’s physicist dad, in mourning over his journalist wife, whom “they disappeared.”Īnd Jonas ( José Luis Pérez) is a self-described “thug” who was tasked with torturing Eric out of writing. Juliet ( Sofia Alvarez), the fellow journalist he had an “open relationship” with, is seen roller-blading around a mostly-empty city, reflecting on Eric and (perhaps) remembering their inane conversations about their sexual history and this “buffalo man” they both have seen, here and there. ![]() Who are they? What is their relationship to Eric? Half the cast in the credits below is never identified. When “Oaxaca” is finally mentioned, you figure, “Ah, Mexico.” But where in Mexico?Ĭharacter names are either given up grudgingly, several scenes in, or never mentioned at all. If you don’t recognize the sites, the topography, you’re left perhaps as disoriented as the main character, Eric ( Raúl Briones), whose last days are remembered by a few who knew him, and recreated here. Toirres never identifies where, exactly, all this is going on. It makes this indie, arty, obscurant drama from Mexico sound like something it’s not, which is interesting.Įditor and first-time feature writer-director David Torres sets out to tell a simple, sad story about the deadly business of Mexican journalism, how tragedy visits two generations of a family and how the threat of impending injury or death could easily induce one long panic attack for those still practicing it.Īnd the self-conscious bore puts all his efforts into hiding “story” and “character” and “urban legend as harbinger” beneath the most laborious 68 minutes imaginable. That headline’s dead-on accurate and ridiculously misleading. ![]()
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