Rojo

Deadpan [and] very funny even though you feel uncomfortable laughing.

Dario Grandinetti's riveting performance as the vaguely menacing yet bureaucratic Claudio is a reminder that repulsive or unfathomable characters can be as fascinating as likable ones.

The film does not serve up its ideas in easily digestible bites. The audience needs to work with a dislocated string of scenes that sometimes highlight absurdity, sometimes violence and frequently say very little at all.

It's powerful material, deftly delivered.

Embrace this little masterpiece before it disappears.

A film in which there's a sharp edge, and the satire and humor don't do anything to take that sharpness off.

It was an impressively fervid work, but nothing about it suggested that, given the opportunity to scale up, Naishtat would take it easy on the audience.

The movie's eerie, ominous atmosphere is legitimate, but can't substitute itself for historical concreteness.

Rojo pulsates both with the motif of blood and the subtly indelible image of a solar eclipse, when an orb blots out the sun, obscuring all but its deep red edges.

Director Benjamin Naishtat throws us into a tizzy and then keeps us guessing, when he will lower the cinematic boom.