“Show, don’t tell,” says conventional wisdom. “Conceal, conceal, conceal” responds director Andreas Fontana, whose debut feature “Azor” paints a portrait of fear using palpable gaps in conversation. As a Swiss banker, Yvan (Fabrizio Rongione) follows in the footsteps of his missing colleague, and Fontana’s self-assured filmmaking captures a chilling atmosphere against the backdrop of Argentina’s Dirty War. The film seldom wavers from its singular idea and feeling; tonally, it’s a stroll across a plateau by design, but it teeters constantly over that plateau’s edge.
A false tropical backdrop and washed-out footage of a well-dressed man with a forced smile yank us into the story and its permeating sense of artifice. Perhaps this man is Yvan’s missing business partner, or perhaps he is the idea of an influential outsider under the thumb of vastly more influential local forces. This is the world Yvan enters with...
A false tropical backdrop and washed-out footage of a well-dressed man with a forced smile yank us into the story and its permeating sense of artifice. Perhaps this man is Yvan’s missing business partner, or perhaps he is the idea of an influential outsider under the thumb of vastly more influential local forces. This is the world Yvan enters with...
- 9/8/2021
- by Siddhant Adlakha
- Indiewire
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