Having railed against the system by staging a fake kidnapping, rebels- without-a-cause Juan Pablo de Santiago and Maria Deschamps steal a car and head for Mexico City in Gerardo Naranjo’s homage to Jean-Luc Godard’s Pierrot Le Fou.
In addition to recreating iconic scenes, Naranjo seizes the 1965 classic’s lament for existence in a world where consumer plenitude goes hand-in-hand with political inertia. Naranjo occasionally overdoes the kinetic camera, but his use of colour and his direction of his young stars, as Deschamps swings between victim and vamp and De Santiago blunders into his inevitable fate, are excellent.