Jay Weissberg The first thing one notices about “Azor” is how real it feels: the entitlement, the encyclopedic knowledge of “good” families, the multilingual fluency, the bonhomie of power.
The main characters are a Swiss private banker and his wife, and it comes as no surprise to learn that director Andreas Fontana is himself the grandson of a Swiss private banker – he knows this milieu very well, and how those inside look at the world.
It’s because every line uttered, every glance and body gesture, is so right that Fontana can take such a hermetic bubble, connect it with Argentina in 1980 when the military junta was flexing its murderous muscle, and turn it into a supremely confident debut.
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