THE STORY – Fleeing from fellow officers, Santiago — an Argentinian policeman — crosses into Uruguay seeking refuge. With no money or shelter, but with plenty of kindness and wit, he begins to rebuild his life with help from the locals, even meeting the woman he believes could be the love of his life.
THE CAST – Sergio Prina, Pilar Gamboa & Alberto Wolf
THE TEAM – Daniel Hendler (Director/Writer)
THE RUNNING TIME – 95 Minutes
There’s typically an expectation, perhaps a false one, that the best films are the ones with the richest ideas and most thought-provoking stories. However, projects like “A Loose End” are the perfect antidote to this misconception. Daniel Hendler’s film is one that thrives in its simplicity, adopting a fairly straightforward structure and demanding very little from its audience. There are very few overarching themes, very little social commentary, and not much character development. But somehow this doesn’t feel like a criticism, as “A Loose End” clearly just wants to have fun with its slice-of-life premise and let the story unfold naturally and organically.
“A Loose End” centers around Santiago (Sergio Prina), an Argentinian policeman who stumbles across the criminal activity of two colleagues and decides to flee the country to avoid their wrath. After making the cross to Uruguay, Santiago finds his feet with the help of several friendly locals – including a cashier whom he promptly falls for (Pilar Gamboa). But when his colleagues from back home catch up with him, Santiago is forced to reconcile his new life with the one he tried to leave behind.
The film opens with a long, meandering shot of two unseen police officers driving through the streets and discussing their horoscopes – though the subject of their conversation really couldn’t be less important – before turning their sights on a figure in the street and crashing into them. Then, fade to black. It’s another hour before Hendler finally lets us into what’s really happening in his methodical, patient drama, which unfolds much like its first scene: a whole lot of nothing, then an almighty crash.
Thankfully, “A Loose End’s” atmospheric visuals and lighthearted tone make that first half much more bearable, despite the fact that its plot is kept on standby. Santiago is an incredibly likable protagonist, and Sergio Prina’s equally charming performance makes it very easy to watch him walking through fields, hiding behind foldaway chairs, and having awkward conversations with everybody he passes. The story is truly secondary in “A Loose End,” pushed aside by the director’s preference for loose, naturalistic vignettes of life.
This free-flowing tone will either make or break “A Loose End” for each individual viewer, but it’s certainly admirable. Giving the audience ample time to bond with Santiago and understand his headspace before even explaining the central conflict of the film is a bold approach to storytelling, and whether or not it pays off will ultimately split audiences. There’s no getting around it – the first half of “A Loose End” is slow. But those who can bask in the methodical patience of the film will find themselves strongly rewarded by its electric conclusion.
Once the film passes the half-way mark and it eventually becomes clear what Santiago is running from, “A Loose End” really picks up speed and begins to toe the line between drama and thriller. Even the wide, unfettered cinematography gets tighter and more restricted, giving the characters less freedom and setting them on a notable collision course that culminates in a very exciting ending. There’s definitely a disconnect between these two sides of the story, and the tonal whiplash takes a little adjustment to really appreciate, but the whole thing is bound together by Prina’s lead performance. He succeeds at both the slow, dry comedy and the more intense, energetic drama in a way that stabilizes “A Loose End” when its rocky screenplay threatens to tear it apart.
On a less positive note, there’s definitely a side to “A Loose End” that feels underwhelming and underwritten: the central romance. For a film that takes such care to make its characters feel as natural and authentic as possible, the dynamic between Santiago and his unexpected lover comes across as surprisingly thin. Their relationship suffers from a very generic “love at first sight” approach, which means we never really get to see their romance flourish on-screen. Their initial meeting is mostly played for laughs, as neither party really knows how to talk to the other, but Santiago has a newfound confidence when they meet again that’s never really explained. It’s an unfortunately hollow subplot in a film that otherwise really takes its time with character development.
There are some very brief attempts to delve a little deeper into “A Loose End’s” sociopolitical subtext, with Santiago’s temporary homelessness opening the door for a critical discussion of classism and social inequality, but it rarely feels like this is Hendler’s priority. It’s certainly hinted at through the character’s uncomfortable interactions with those around him and his inability to present himself effectively to a prospective employer, but these moments are played more for laughs than as a serious criticism of society. A more distinguished and confident subtext would definitely elevate the film, but it’s hard to say how these ideas would fit into an otherwise comedic and uplifting story.
Technically, “A Loose End” is a resounding success. Gustavo Biazzi’s scenic cinematography really sets the scene from the beginning, and he gives every frame plenty of room to breathe. The original score from Matías Singer and Gai Borovich is another standout, with the two aspects coming together to display a very strong command of atmosphere that washes over the audience throughout.
All in all, “A Loose End” succeeds at pretty much everything it attempts, but it’s ultimately not attempting all that much. It’s a very quaint film that knows what it wants to be and really dives head-first into its slow, patient style. The brief attempts to delve deeper into the sociopolitical context are welcome, but it rarely feels like Hendler is prioritizing this aspect of the story. The film certainly won’t be for everybody, but those who are looking to pass 90 minutes with a sweet, tonally distinct character drama should find something to appreciate.
