The title (high tide) is a metaphor for the horny protagonist who leads an apparently serene life despite a barely contained sexual ferocity. The 'tide' meant to envelop us dramatically never transcends the wishful-thinking level. The atmosphere should be unsettling, as, in theory, this drama would be an essay on (i) the differences among the social classes, and (ii) the psychological game of power within the Argentine bourgeois class. Laura, an amoral, cynical, pagan bourgeoise, has as many tattoos as the big-penis foreman (Weisman) with whom she dances, drinks red wine and eventually screws. Two other workers, of 'inferior' ethnicity (Indians), however, began to harass her morally, crossing the social frontier and making it clear to Laura that the space of the bourgeois 'oppressor' has been thoroughly invaded by the 'oppressed' rabble. When Weisman disappears from work and the unprotected, falsely privileged Laura must deal with the other workers alone, she backs off, cornered, keeping her watch but being watched by them. Tension builds, workers become undisciplined and rebellious. Nothing much happens, however. In the background, there is even a husband, the tame cuckold. Films like this, which would like to pass as 'seventh art,' are but despicable mixtures of soft-core, and lots of pseudo-intellectual pretension.
