Jauja introduced me to a director I must admit I was ignorant of, although he has directed four other features; the film was entered in Cannes this past year, which is what brought it to my attention. Set in Patagonia, at the turn of the century (or perhaps before, the date is unclear), the film features stunning imagery and restrained performances, most startlingly from Viggo Mortensen, who speaks his patrimonial tongue throughout. A kind of existential western, Jauja concerns Mortensen’s journey, as a cartographer traveling with an army detachment, to locate his runaway adolescent daughter. The film begins with dreamy vibes and only grows stranger, more spare and more hallucinatory, as the saga unfolds. That said, Alonso is known for low-key storytelling and the use of non-actors, so this is emphatically not hallucinatory in the acid western stylings of Robert Downey’s Greaser’s Palace or even Jodorowsky’s El Topo. Rather, the film, by the end, reminded me very much of Picnic at Hanging Rock, Peter Weir’s masterpiece from the late 70s. I don’t want to spoil anything, so I won’t, but I will say that the film, which I felt was going in disappointing directions by the three-quarter mark, turns around in the finish; indeed, the ending, as the best endings do, forces you to reevaluate all that has come before, and opens up a poetic dimension unimagined until that point.