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El Prófugo
The Intruder
Argentina / Mexico 2020
produced by Benjamín Doménech, Santiago Gallelli, Matias Roveda for Rei Cine, Barraca Producciones, Infinity Hill
directed by Natalia Meta
starring Erica Rivas, Agustín Rittano, Cecilia Roth, Nahuel Pérez Biscayart, Mirta Busnelli, Daniel Hendler, Guillermo Arengo
screenplay by Natalia Meta, based on the novel by C.E. Feiling, music by Luciano Azzigotti
review by Mike Haberfelner
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Inés (Erica Rivas), voice actress for Japanese fetish movies and
singer at a professional choir, goes on a trip with her new boyfriend
Leopoldo (Daniel Hendler) - and she soon notices he, more than anything
else, is getting on her nerves. But when she locks herself inside a
bathroom just to get away from him, she hears noises of a fight outside,
and when she goes looking, she finds him pushed out of a window to his
death. She is not herself afterwards, which especially affects her singing
with the choir. And she also sees things that aren't there - but they
don't feel like mere hallucinations. Inés' mother (Cecilia Roth) moves in
with her to see that she gets better, but she seems to have an agenda of
her own, and also seems dead-set to push her new fling Alberto (Nahuel
Pérez Biscayart) onto her. It seems only Nelson (Agustín Rittano), the
sound engineer at the studio she does her voiceovers at, takes her
seriously, even if his suggestions seem a bit out of this world. But at a
recital of her choir she completely loses it, thinking she sees Leopoldo
in the audience, so she pays a visit to Nelson who at the advice of an old
actress (Mirta Busnelli) agrees to enter her dreamworld with her to fight
whoever's the "intruder" into the real world who's obviously
after Inés. But then Alberto awakens her from her dream even if he had no
chance of knowing where she were, and Nelson seems to have disappeared
from the world. And seeing how everybody around her reacts as if nothing
had happened convinces her to finally take matters into her own hands -
but does she even know what "matters" are? In many
ways, El Prófugo resembles Italian gialli from the 1970s,
from an emphasis on the film's aesthetics to its very labyrinthine story
that doesn't always make sense, but also its triplike elements, spots of
oddness, and respect for the arts in general - whether this is even a
conscious hommage though I can't honestly claim, as ultimately the film
conquers very new ground of a metaphysical thriller with bits of social
satire tacked on. But if this sounds a bit brain-heavy, it doesn't have to
be, as the film, even if things often don't make sense - until much later
at least - and not all questions are answered, flows at a nice pace and
knows how to entertain, and heck, it even has a musical finale, so it
makes a really good watch, at least for those open-minded enough for some
utter weirdness.
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