Each filmmaker approaches their craft in a unique and individual way. This goes all the way back to the basics of how they write or approach a script to the choices made around filming and the equipment they’re going to use. One of the most complicated and complex ways of producing a film is by just using one single take. Despite the best attempts of marketing companies, the likes of 1917 and Victoria only look that way. Rendez-Vous is the real deal.
Lili (Helena Puig) is waiting for her date to show, but he’s running very late. She met him on a dating site and he seems really nice, but keeping her hanging isn’t a great first impression. However, when Eduardo (Antonio Alcantara) finally arrives with a tale of being mugged, she soon forgives him. Their conversation meanders as they visit a museum and then walk to his apartment. The pair strike up a good rapport, but is it all too good to be true?
Rendez-Vous does that remarkable thing of managing to be utterly natural whilst still transporting the viewer into another world. Much of this is achieved with some superb camerawork from Luis Enrique Carrión, who brings the Mexican streets to life in glorious black and white. Pablo Olmos Arrayales’ film works due to its simplicity. There are obvious limitations to this format and the story itself is a trifle thin but you can’t help but admire the craft involved in its creation.
Rendez-Vous screens at Grimmfest Easter Horror Nights.
