Movie Review – Azor (2021)
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Las entrevistas a poetas argentinos de Revagliatti: un edificio enorme, con numerosas ventanas
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‘Azor’ Film Review: A Private Swiss Banker Enters the Argentine Junta’s Heart of Darkness Variety 3/12/2021
The first thing one notices about “Azor” is how real it feels: the entitlement, the encyclopedic knowledge of “good” families, the multilingual fluency, the bonhomie of power. The main characters are a Swiss private banker and his wife, and it comes as no surprise to learn that director Andreas Fontana is himself the grandson of a Swiss private banker – he knows this milieu very well, and how those inside look at the world. It’s because every line uttered, every glance and body gesture, is so right that Fontana can take such a hermetic bubble, connect it with Argentina in 1980 when the military junta was flexing its murderous muscle, and turn it into a supremely confident debut. Even if this environment will be foreign to most viewers, “Azor” builds the mystery with such engrossing cleverness that the film should easily attract art-house audiences.
Stéphanie Cléau, Ioana Padilla, Carmen Iriondo, Fabrizio Rongione and Raúl Lissarrague in
Azor It’s impossible to work out what’s going on in this country . It’s December 1980 and the streets of Buenos Aires are under surveillance by the military authorities. But given that luxury hotels, private clubs, villas with swimming pools, vast estates and private boxes at racetracks are all much of a muchness, and that, in this sense, the privileged folk of the world form one big family partaking in the same elitist culture and speaking one same language, Swiss banker Yvan De Wiel (