Yvan De Wiel, a private banker from Geneva, goes to Argentina in the midst of a dictatorship to replace his partner, the object of the most worrying rumors, who disappeared overnight.
Writer/Director Andreas Fontana’s inspiration for “Azor” came from the countless political scandals that have rocked his native Switzerland and Argentina. Fontana wanted to expose how the chaotic banking industry affects the lives of the unwitting and unwilling. Fontana’s intriguing script exposes the world of private banking, while subtly dissecting the dynamics of the ruling elite and the various forms of colonialism haunting Argentina. The specter of colonialism is materialized in architecture, phrases, music, and class structure.
The screenplay is broken into chapters resembling a classic novelesque approach. Aside from Fontana’s compelling narrative devices, the cinematography is superb. His use of blocking characters amongst various posh buildings and estates hidden in surrounding forests feels eerie and timeless.
The year is 1980, Ivan (Fabrizio Rongione) along with his wife Ines (Stephanie Cleau) arrive in Buenos Aires in the midst of Argentina’s Dirty War, searching for Rene Keys, a partner at their Swiss bank who went missing. While Ivan is disturbed by the strong military presence in the streets, Ines enjoys their luxurious hotel’s amenities. After meeting with an associate, Ivan learns Keys had a second chauffeur, a secret apartment, and made some questionable investments. While various characters share their opinions of Keys, the majority consider him a scoundrel. One of the film’s most interesting characters is Mrs. Lacostreguy, an elderly socialite who warns Ivan that people in the upper echelons of power are responsible for all the tragedy befalling the country.
Ivan is riding horses with Augusto – a client of his bank and racehorse breeder – whose daughter has been missing for years, when he states, “this country has become a private hunting ground for rich people.” The horse racing world is a perfect metaphor for the cycle of capitalism – where workhorses are commodified and ultimately discarded.
Ivan, used to the rarified air of a country solely concerned with financial power, is out of place in the foreign country which is “ruled by the three pillars: the military, the state, and the church.” As Ivan’s amateur sleuthing peels back more layers of state secrets and economic warfare, his revelations lead to a rewarding finale.
Gracefully dealing with the turmoil in Argentina, “Azor” deserves to be compared to other Argentine classics like “The Secret in Their Eyes” or “The Official Story.” Fabrizio Rongione’s internalized performance as Ivan is understated and memorable. Some of the essential moments in the film come as we watch Ivan and realize what is taking place inside his mind.
Opens in New York City Friday, September 10th, and in Los Angeles Friday, September 17th, followed by other U.S. cities
