1970s Argentina: Claudio is a respectable man, living within the increasingly strict regime. Yet cracks start to appear. A collection of moments in a society falling into fascism, Rojo is a compellingly moral work that never lapses into easy answers.
As in the films of Pablo Larraín, this is a rich grappling with Argentinian history that turns an ever tightening screw on the audience. Full of formal flourish and detailed performances, this has the flair and mordant humour of Ruben Östlund and the creeping dread of Michael Haneke.