Verónica (Mexican, 2017)

2 out of 5

Directed by: Carlos Algara and Alejandro Martínez Beltrán

Odd cuts and obviously purposefully missing information have you paying more attention than usual.  You’ve seen various films of this nature – a psychologist takes on a new patient, notoriously troubled, and a mental cat-and-mouse ensues – but those prior mentioned quirks have you en garde; surely there’s something more to this.

Enough runtime passes that you suspect those cuts and informational blanks are, perhaps, just style, and just sloppiness.  When the two lead ladies start smooching, you wonder if you’re watching a straight forward erotic thriller, that fakes the thrills in service of the erotic.

And then that shoe that you’d had sized up since this shindig first started drops after all.  Those cuts: still pointless, but there’s at least an attempt to shore up the info gaps and titillation into something.

Verónica, shot in soft blacks and whites, is pleasing to look at – distractingly pointless framing of some shots aside – and is aptly carried by its two female leads, a psychologist (Arcelia Ramirez) and her young patient (Olga Segura).  Directors Carlos Algara and Alejandro Martínez Beltrán do a good job of somewhat naturally swirling eroticism into the mix, and I appreciate that things are kept moving along: it’s a short runtime of less than 90 minutes, so you’re not too fed up by the absolutely predictable flow of it, just sort of amazed that that’s really all it was.

 

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