Atop a lonely Latin American mountain, breaching the cloud’s barrier of visibility, eight teenage commandos do their part in an operation neither we nor they fully understand. Their ties to an entity called “The Organization” are, at the start of Monos, unbreakable and unquestioning; living in a feral state, they eagerly await orders from a horse-riding and harsh superior, who’s stripped them of their domestic identities and molded them into obedient machines, cultic militants. But by the end of Columbian filmmaker Alejandro Landes’ gorgeous third feature, the fabric of both their compliance and comradery will be unraveled in a 140-minute dissertation of unnerving, yet valid humanity.
The task at hand is simple, the “Messenger” (Wilson Salazar) informs his platoon: protect the cow and protect the girl. The cow, named Shakira, provides nutrient-rich milk for the near-savage warriors, and the girl (Julianne Nicholson), only referred to as “doctora,” is an American hostage.
The task at hand is simple, the “Messenger” (Wilson Salazar) informs his platoon: protect the cow and protect the girl. The cow, named Shakira, provides nutrient-rich milk for the near-savage warriors, and the girl (Julianne Nicholson), only referred to as “doctora,” is an American hostage.
- 9/27/2019
- by Luke Parker
- We Got This Covered
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