THE STORY – Remo Manfredini is a legendary jockey, but his self-destructive behaviour is beginning to outshine his talent and threaten his relationship with his girlfriend Abril. On the day of the most important race of his career, which will clear him of his debts from his mobster boss Sirena, he has a severe accident, disappears from the hospital, and wanders the streets of Buenos Aires. Free from his identity, he starts to discover who he is truly meant to be. But Sirena wants him found, dead or alive.
THE CAST – Nahuel Pérez Biscayart, Úrsula Corberó, Daniel Giménez Cacho, Mariana Di Girolamo, Daniel Fanego, Osmar Núñez & Luis Ziembrowski
THE TEAM – Luis Ortega (Director/Writer), Rodolfo Palacios & Fabián Casas (Writers)
THE RUNNING TIME – 97 Minutes
Argentine director Luis Ortega has established a clear voice for himself that shines through in all of his films. His sarcastic and moody characters go through their hectic and storied lives in their chaotic worlds, resulting in entertaining and wild journeys. With his latest film, “El Jockey” (“Kill the Jockey”), Ortega takes on a similar approach by following a jockey who does everything in his power not to be one. It leads to a story about identity and rebirth, which sometimes can be a bit out there to be genuinely understood. Nonetheless, the film is packed with laughs and a strong performance from star Nahuel Pérez Biscayart.
The life of a jockey is less than glamorous, but Remo (Pérez Biscayart) somehow manages to make it look and feel even more unappealing. As a champion rider who has fallen so far from grace, he “prepares” for races by passing out in bars, mixing cocktails with horse drugs, and disassociating from all that happens around him. When it’s time for racing, he’s so strung out that he can’t reach the starting line before falling off his horse. His pregnant girlfriend, Abril (Úrsula Corberó), a star jockey in her own right, has given up on their relationship and says that the only way she could love him again is if he died and was reborn as someone else. One person who won’t give up on him is mobster Sirena (Daniel Gimenez Cacho), who has just ordered a new horse from Japan and needs the champion to win again. After Remo fails epically, he goes on the run for his life from Sirena’s cronies and his past.
Pérez Biscayart does fascinating work in “El Jockey,” mainly because he has to balance dual personas. As Remo, he’s sloppy, lazy, and a total mess, which the actor appears to embrace, upping his smugness whenever possible. But, later in the film, after he suffers a bad accident and escapes from the hospital, he becomes someone new, wearing a woman’s fur coat, carrying a handbag, and sporting a massive bandage on his head. As Lola, Pérez Biscayart takes on a quieter persona as his character walks through the streets, considering all that’s led to this point. There’s still plenty of humor — such as a great moment when Lola falls asleep on an escalator and is totally unfazed when it starts moving — but this character is a welcome change from the chaotic nature earlier. Humor also finds itself in Cacho’s mobster character, who somehow always has an infant in his arms who looks different every time we see him. There’s not much time spent with his character, but he’s a delight each time he appears on screen. Corberó’s Abril also goes through a metamorphosis, shedding herself from the men around her to pursue a new relationship with a fellow female jockey.
These are just some of the creative choices made in “El Jockey.” The film captures several dance sequences (intertwined with jockeys stretching or hanging out in a bar) that are hypnotic to watch. As Lola walks through the streets, she sees a number of magnificent sights, including a military procession with horses and big band instruments. These musical moments may not mean much to the plot, but they’re still entertaining nevertheless. At times, cinematographer Timo Salminen’s work, often placing characters in the middle of a frame, is reminiscent of a Wes Anderson film, which works perfectly for this quirky film. But, the peak of Ortega’s boldness comes in the third act, at which time Remo/Lola undergoes a rebirth in several ways. Viewers will likely scratch their heads trying to make sense of all that’s happening – somehow walking and floating on the walls is possible here – but it comes full circle by the end.
“El Jockey” is anything but conventional. Though there are a few lingering questions in the end, it’s commendable that Ortega decided to push the boundaries and try something new with his latest film. It mostly all works, especially with Biscayart’s multifaceted performance leading the charge, and it makes us excited to see what comes next from the Argentine director.
