, echoes its overall feel: striking, ominous, dreamlike, disconnected, inscrutable. There is something of an externalized plot here-a tale of tensions between affluent Juan (Adolfo Jiménez Castro) and El Siete (Willebaldo Torres), the poor local who does odd jobs for the urbanite at his country home-but a simple summary of what happens would seem to miss the point. How to factor in an extended scene in which Juan and his wife, Natalia (Nathalia Acevedo), visit a grotty health/swingers club with rooms named after Hegel and Duchamp for a public mass tryst both tawdry and, ultimately, beatific? Or the scene in which Juan pummels the family dog at length, the blows landing just off camera and raising ghastly animal screams? Or scenes that follow a rugby match between various English-speaking youths on another muddy field, seemingly a continent away from the other events? Or the glowing red animated demon that stalks through a pair of scenes?