![]() The film’s title refers to a Geneva phrase used in banking circles that means “shut up, be careful what you say”, Fontana said.Īzor is mostly set in atmospheric interior spaces (the cinematography is by Gabriel Sandru). Yvan must rely on his instincts and understanding of the political situation to navigate a maze of couched conversations, secrets that nobody wants to talk about, and outright lies dressed as the truth. “The tension linked to morality is added by the spectator, not the banker’s character.” Azor (2021). “A banker does not ask himself moral questions when he makes a transaction, he asks himself much more pragmatic questions: what risk am I taking? Is it good for the bank in the long term? In the short term? How much do I earn?” Fontana told Scroll.in in an email interview. Over a hundred minutes, not one of them wasted, the first-time director delicately reveals the amoral nexus between private banking and the power elite. Yvan (Fabrizio Rongione) has a manifold mission: to find out what has happened to his bank representative Keys, in addition to retaining old clients and converting potential investors. But the movie’s skillful examination of the interplay between power and wealth applies to any country that has opportunistic elites, crony capitalists and unscrupulous financial enablers.Īzor, which is out on MUBI, follows a banker and his wife who arrive in Buenos Aires from Geneva to replace a partner who has disappeared. ![]() The setting of Andreas Fontana’s Azor might be specific – Argentina in the early 1980s, in the wake of the military coup of 1976. After all, this is a land in which a word or two out of place could render you vulnerable to persecution or even death. What isn’t said is equally important – if not more. ![]() What is said in Azor matters greatly, especially since it is carefully considered before being voiced.
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