"The Rind" charts a corporate drone's disintegration as he struggles to maintain the shared glory of a deceased collaborator.
“The Rind” charts a corporate drone’s disintegration as he struggles to maintain the shared glory of a deceased collaborator who’d hatched all “their” ideas. Debuting Uruguayan writer-director Carlos Ameglio’s mixed black comedy, social satire, hinted supernatural content and delusional psychology keep this slick multinational production intriguing. If the enigmatic content had deeper resonance, its charms might’ve added up to something. As is, “The Rind” doesn’t go anywhere definite or striking enough to fully reward the journey. Glossy, absurdist pic will find limited offshore exposure via fest and home-format placements.
Pedro (Juan Manuel Alari) is the doughy thirtysomething spawn of rich parents. He’s a socially hapless graphic artist who’s only gotten this far thanks to Juan, the smart, handsome ad agency star who did all conceptual heavy lifting. When Juan suddenly dies, Pedro is promoted — and panicked. Bereft of ideas himself, he moves into an apartment opposite the dead colleague’s, rifling Juan’s home and computer. Meanwhile, a strange child (Martin Voss) who might be Juan’s ghost leads him on a labyrinthine path, with unsatisfying, vague resolution. Tech/design aspects are high-grade, with avant-garde music choices a plus.