The first days of the Locarno Film Festival were dominated by a heat so intense that it took great effort to focus on the challenging cinema for which the Swiss festival is renowned and not just on staying hydrated and fleeing to the next air-conditioned space. But as the warmth receded and proper concentration returned, several titles that screened on the opening weekend emerged from the fug as some of the most intriguing films of the year.
Unlike in Switzerland, the sweltering heat of the Dominican Republic inspires fervor, even hysteria—as in Nelson Carlo de los Santos Arias’s Cocote, which opened the festival’s experimentally minded Signs of Life section, which this year became a competitive section for the first time and opened its doors to films of all lengths. Much like the filmmaker’s Santa Teresa and Other Stories, a very loose adaptation of Roberto Bolaño’s 2666, Cocote proceeds by inserting enough flights of fancy into an established narrative that its through line often becomes thrillingly blurred. While this film’s plot doesn’t draw on any preexisting material, it does feel broadly archetypical, telling the story of how Alberto (Vicente Santos), a gardener working at a wealthy estate in Santo Domingo, returns to his home village following the death of his father at the hands of a local bigwig. Alberto’s smart attire and newfound respectability mark him as a prodigal son for his mother and sisters, who expect him both to take part in a nine-day burial ritual and avenge his father, neither of which are in keeping with his sense of urban rationality and poise.