Synopsis
Yvan De Wiel, a private banker from Geneva, is going to Argentina in the midst of a dictatorship to replace his partner, the object of the most worrying rumors, who disappeared overnight. Between hushed lounges, swimming pools, and gardens under surveillance, a remote duel takes place between two bankers who, despite different methods, are the accomplices of a discreet and merciless form of colonization.
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Cast
- Fabrizio RongioneYvan De Wiel
- Stéphanie CléauInès de Wiel
- Carmen IriondoLacrosteguy Widow
- Juan TrenchAugusto Padel-Camón
- Ignacio VilaAnibal Farrell
- Pablo Torre NilsonMgr Tatoski
- Juan Pablo GerettoDekerman
- Alexandre TrockiEmbassadeur Frydmer
- Yvain JuillardGuy Lombier
- Agustina MuñozLeopolda
Recommendations
- 100
The Playlist
Azor itself is a code word meaning “to not say too much” or “to keep one’s cards close,” a trait that the film and its protagonist so excel at, viewers will be kept guessing until the last moment. - 100
The New York Times
Written and directed by Andreas Fontana, making a formally precise, tonally perfect feature debut, Azor is a low-key shocker. - 100
The Guardian
Pure evil is all around in this unnervingly subtle, sophisticated movie; an eerie oppression in the air. - 90
Screen Daily
The striking feature film debut from Andreas Fontana brings a prickly thriller sensibility to the closed world of high finance and a piquancy to the phrase ‘dirty money’. - 90
Variety
Like the intelligent performances — both Rongione and Cléau are standouts — and the terrific art direction, the film’s design reinforces an exquisite, levelheaded decorum about to be smashed by a chillingly cruel monster. - 88
RogerEbert.com
Set in Argentina in 1980, Azor is a quiet, unhurried, un-flashy film, and that's what makes it unnerving. You come away from it feeling that you've been given a greater understanding of how authoritarian power-grabs happen. - 80
The New Yorker
Azor is Fontana’s first feature, and what’s impressive is how coolly he avoids the temptation to put on a big show, preferring more delicate tactics. - 80
Los Angeles Times
To the less patient viewer, the lack of clarity on the finer points of high finance and characters’ backgrounds and not getting period-orienting news updates about the political situation, might seem confounding. But Azor works without them, because those details would only disrupt the artfully portentous chill Fontana gets from the pitch-perfect performances and design, and Gabriel Sandru’s cinematography.
