Into the coldly beating ‘Heart of Darkness’ of high society, Andreas Fontanas’ debut feature film has already garnered comparisons to the mysterious brilliance of filmmaker, Lucrezia Martel, and evokes its corrupt world of powerful decision-makers with unnerving precision.
Yvan de Weil, a private Swiss banker (Fabrizio Rongione) comes to Argentina with his wife Ines (Stéphanie Cléau) in 1980 as an attempt to discover more details surrounding the disappearance of his previous business partner, named Keys.
The character of Keys becomes the haunting absence whose presence is felt throughout the film, not unlike Kurtz from Francis Ford Coppola’s Apocalypse Now (1979), Keys seems to be the inscrutable essence of the film’s chilling sense of concealment.
Entering Argentina at a time of violent social unrest, the state-terrorism of a military purge that, between 1976 and 1983, saw the killing, torturing and ‘disappearing’ of thousands.
Into this lethal and oppressive turbulence, comes the language of money and power: an elliptical and icy code of barely concealed violence.
This film contains flashing images which might affect customers who are susceptible to photosensitive epilepsy.