TIFF ’24: Another take on the transporting “Kill the Jockey”

By Abe Friedtanzer

It’s not always the plot a film that makes it interesting but sometimes the way that it’s told. Kill the Jockey most certainly falls under that description, enhancing a premise about a jockey on the run from his mobster boss after an accident with an unforgettable and unique style. Those seeking a narrative that has a distinct start and finish with clear resolution for all its characters won’t necessarily find that here, but what transpires over its ninety-six minutes is definitely captivating… 

Remo (Nahuel Pérez Biscayart) is the protagonist of this story, whose evident talent is diminished by his reckless behavior. An accident leads to his disappearance and Sirena (Daniel Giménez Cacho) sending his henchmen after him since he’s the ticket to the big win he’s betting on to happen. Remo’s pregnant girlfriend Abril (Úrsula Corberó) is also a jockey and has her eyes far more glued on the prize, with different considerations like whether she can replace Remo professionally or whether she should stop racing as the baby’s due date approaches.

Much of this plot is conveyed rather than explicitly stated, and there’s a fantastic rhythm to the entire experience that fuels it. Abril and Remo indicate their power dynamics through a ferocious dance routine, and dialogue is largely absent as Remo wanders through the streets seemingly lost, almost coincidentally staying one step ahead of his pursuers. Abril navigates her own future with another jockey, Ana (Mariana Di Girólamo), while still maintaining an unbreakable affection for the increasingly distant and noncommunicative Remo.

Kill the Jockey comes from Argentinean director Luis Ortega, whose past credits include a 2018 TIFF selection, El Angel. Ortega has a clear, wondrous vision for what he wants this film to be, set to a fantastic score by Sune Rose Wagner. Biscayart (BPM) and Corberó (Money Heist) are a formidable duo who say volumes without uttering many words and who boast terrific cinematography to boot. Giménez Cacho (Bardo) chews scenery without overshadowing the protagonists. This is a film with a superb beat that feels like a long dream, demonstrating a terrific cinematic quality that makes an otherwise familiar story entirely distinct and memorable. B+

Kill the Jockey makes its North American premiere in the Centrepiece section at the 2024 Toronto International Film Festival. Elisa previously reviewed the film from Venice.