Jauja

Gorgeous cinematography with bright green and blue tones in an unconventional aspect ratio, set in Argentine Patagonia, and having almost no music score (emphasizing natural noises, instead). All those traits make this Danish-Argentine-French-Mexican-German production to be unusual among Westerns. As a matter of fact, its script is even more deviant. While general plot - a mounted armed man searching his daughter in the wild - may be compared to John Ford's The Searchers, the pictoric or symbolic element puts it closer to films such as Jodorovsky's El Topo or Jarmusch's Dead Man, although having no comic relief and being more violent. The script makes no sense in linear narrative terms, and it is open to multiple interpretations as you may notice if you read a wide number of reviews. A Danish family in an Argentine military action in Patagonia directed to killing native people; a supposedly deserter with rumored bizarre habits; an officer who speaks French and thinks about the ball planned by his superiors; a harsh officer who hates Indians, has strong sexual appetite and wants the Danish girl; that teenager evades with a young soldier with no pevious sign that she intended something like that. Nothing fit very well and dialogues lead nowhere. It becomes more obvious when even more surrealistic situations eventualy happen. Indeed, nothing may be taken literally, but there is also no recipe for connnecting the pieces either. What does Viggo Mortensen's character deeply searches? What the desert in the end of the world means for him? What does his daughter represents? What her two latter appearances mean? What those officers and the native Americans symbolize? Many open questions to think about.