"Remo was a "blooming" character. The film is about rebirth. I think the transformation starts when he falls from the mezzanine, which comes after he is told he has to die and be born again. He is coming from the mud like the lotus flower in a way-very murky. Nobody knows what he wants, or why he does what he does. After the accident happens, everything gets liberated."
"The idea of tragedy is inverted; what might be tragic for him is a release. Remo goes towards the feminine side where Dolores is mothering. In the prison, Dolores cares for other people, which is a way of caring for him/herself. For Remo to be born again, he has to go through all the different behaviors and attitudes we have in life."
Kill the Jockey centers on Remo, a once-successful jockey coerced by mobster Sirena to win races, whose accident leads him to disappear and reinvent himself as Dolores. Abril, Remo's pregnant girlfriend and fellow jockey, flirts with Ana while searching for him alongside Sirena. Director Luis Ortega stages surreal, inventive sequences—including dance scenes and a scene of Dolores climbing prison walls—that transform the narrative into queer absurdist theatricality. Nahuel Pérez Biscayart delivers a largely wordless, physically demanding performance that conveys rebirth, feminine emergence, and caregiving. The film examines themes of transformation, gender fluidity, tragedy inverted into liberation, and bodily expression.
Read at San Francisco Bay Times
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