Film - Feature | April 14 | 8 p.m. | Berkeley Art Museum and Pacific Film Archive
Set in 1975 Argentina, this noirish drama from Benjamín Naishtat (History of Fear) tells the story of a morally compromised lawyer. Claudio is being investigated over a shady real estate deal in the months leading up to the right-wing coup that ousts Isabel Perón. With a style reflective of the 1970s, from the grainy visual palette to the use of zooms, slow motion, and deep focus, Rojo adroitly captures a deeply unsettled time in Argentina when a corrupt political system encouraged a general lawlessness and moral vacuity among its populace.
The complacency and corruption of pre-coup Argentina is laid bare in chilling, absurd style in Benjamín Naishtats superb third feature.Jessica Kiang, Variety
Hitting emotional grace notes that belie his relatively tender years, thirty-three-year-old South Korean auteur/director Jang Woo-jin offers a bittersweet rumination on love, marriage, and midlife disillusionment in this quietly enchanting third feature. . . . The films visual grammar is poised and precise, but understated enough to serve the story above all else. Jang and cinematographer Yang Jeonghoon favor still, empty, symmetrical composition, marking scene divisions with painted historical tableaux. The nocturnal setting, with its frozen waterfalls and neon-lit snowscapes, lends an alluringly alien beauty to this Midwinter Nights Dream.Stephen Dalton, Hollywood Reporter
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