Los Reyes Movie Review

The most recent joint effort between Chilean executives Ivan Osnovikoff and Bettina Perut won the sprinter up prize while debuting at the Dutch narrative monster.
It's an instance of four wheels great, four legs surprisingly better in Los Reyes, Chilean team Ivan Osnovikoff and Bettina Perut's engaging investigation of stray mutts and skateboarders sharing a downtown Santiago stop. Manufactured four-square around the impressive screen nearness of indistinguishable best-buddy canine co-drives Chola and Football, the German co-creation is low on episodes yet high on environment and unassuming appeal.



Having its reality debut in the primary rivalry at Amsterdam's IDFA, the match's eighth directorial joint effort took the sprinter up unique jury grant and positioned high among the most seen titles in the business videotheque, the last a dependable harbinger of a bustling celebration profession. Workmanship house play in open domains is likewise conceivably probable, however bookers and benefactors ought to be made mindful that the deliberate style of Los Reyes — no music, no voiceover, no logical title-cards — veers toward the grave.

It's to Osnovikoff and Perut's credit, in any case, that the chiefs (whose past excursion, salt-pads account Surire [2015] additionally contained a critical canine unforeseen) don't endeavor to humanize their heroes nor play the enticing "charm" card. A scope of camera positions, from wide scene shots to ultra-insinuate close-ups, rather enables us to value the two dogs in their received setting of the Parque de los Reyes ("Park of the Kings"), a long segment of land along the Mapocho stream close to the focal point of the capital.

Collaborations with the skaters are shockingly rare: Chola and Football (names just uncovered at last credits) get most barkingly vivified when non-strays and their proprietors have the nerve to attack their scruffy turf. Else they appear to appreciate a serene, stationary sort of presence in all climate. At the half-hour point, an arrangement of pet hotels is introduced, shield that proves to be useful amid the stormy season when its inhabitants gaze forlornly out at the deluge.

The obligation of comradeship among Chola and Football is substantial: Football will in general look on tolerantly, more often than not with some sort of container or toy between his vast jaws, while the a lot friskier and sleeker Chola diverts herself by playing with a tennis ball. Her most loved and most great distraction includes adjusting the ball on the edge of the skate-stop divider, discharging it down the slant and pursuing it, a sort of "get solitaire."

The creatures' apparent friendship for one another doesn't bar different experiences: Despite his propelled years, Football is demonstrated getting a charge out of a lustful hurl with a passing puppy at a certain point. His association with Chola is apparently progressively non-romantic. Regardless, their closeness renders the last 10 minutes a moving peak (there's one genuinely terrible succession of forlorn yelling.)

The crowd has been discreetly prepared for this tragic end result: Pablo Valdes' camera close infinitesimally looks at the most minor indications of maturing Football, obviously the more established of the two, going on the defensive, exhausted paws, and the annoying flies that buzz around and devour upon his worn out ears. For any individual who has possessed or thought about pooches, such areas of Los Reyes may demonstrate extreme going.

The executives' extreme commitment with the powerful pooches stands out fundamentally from their treatment of the skaters: high school young men who are much of the time heard talking about medications and lady friends (at every so often repetitive length), and indicated skating and hanging out from a separation, however whose faces stay off-camera. Los Reyes was initially pitched as "the tale of three low-pay high school skateboarders that epitomize the test of getting to be grown-ups in an isolated and classist current day Chile," just for the shooting and altering to take extraordinary, progressively unique and compensating ways.

Generation organizations: Perut + Osnovikoff Ltda

Chiefs/Screenwriters/Editors: Ivan Osnovikoff, Bettina Perut

Makers: Maite Alberdi, Ivan Osnovikoff, Bettina Perut

Official maker: Dirk Manthey

Cinematographer: Pablo Valdes

Scene: International Documentary Festival Amsterdam (Feature-length Competition)

Deals: CAT&Docs, Paris

In Spanish

No Rating, 77 minutes