A Decent Woman

Job interviews, babysitters and maids are sought.

Belen is hired as a maid in a very exclusive residential area, similar to Rodrigo Pla's "The Zone," but here we are not in Mexico but in Buenos Aires.

What bothers the residents are not the outside thieves but a community of nudists, neighboring naturalists who are a bit noisy and "naive."

The maid, bored with residence life and curious about the neighbors, in her spare time decides to join them, carefully fenced off with a high-current wire.

Meanwhile, the landlady has to deal with a frustrated son who is obsessed with his professional sporting activity while an internal committee sets up a petition to remove the nudist community.

Belen wants to discover her body, the courting of the residence's awkward caretaker does not satisfy her curiosities, and she is won over by those indecent, beyond-the-barricade practitioners of tantric caressing, hunting, cultivation, and naturalistic-style gang bangs carefully disguised as forest animals.

Their precepts seem radically different, far from social norms, they engage in idleness, supported, it is unclear, by who knows what economic income, to embrace mental and sexual liberation in communion with nature.

Young, old, with far from athletic physiques, they are reviewed by Austrian director living in Argentina, Lukas Valenta Rinner.

Silence reigns in the life of Belen, who without hesitation, with a static face goes from a materialistic bourgeois condition on the one hand to a seemingly naturalistic/tantric condition on the other.

All constructed in the extraordinary Austrian style of Ulrich Seidl, when Rinner portrays, as in the well-known "Safari" or " In the basement," the documentary scenes of life of the commune's nudists.

But everyone stands in the enclosure, decent and indecent, not least because one does not know which are which...

A 'puzzling work that of RInner, with a beginning that seems to lead on a track that at some point takes a completely different direction with an upward play to the shocking and overwhelming conclusion.

Hilarious and grotesque cues build a fresco where carefully observed humanity takes on the guise of lab animals guinea pigs of themselves and the world they have constructed for themselves, with the illusion of wealth not liberating on the one hand and nature as the castrating goal of freedom on the other.

Frustration, loneliness, and aggression will not hesitate to present themselves in all their transparency, especially where they are carefully masked.

A multiple gaze that of Rinner, he abruptly presents an absurd, comic but very cruel reality through a mise-en-scene full of fixed shots and rhythmic music that punctuates Belen's disharmonious movements.

Highly original and at times humorous, this work stands out for the caricature-like capacity it assumes as the unmoving engine of a reality too obtuse for any self-analytical capacity.

Seemingly insensitive and cold, the film unashamedly declares its most extreme provocativeness with the presentation of which the Turin Film Festival seems to have been at its best.