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“El Jockey” and the Question of Being
Date
January 22, 2026
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From a philosophical perspective, El Jockey (2024), distributed by Star Distribution Latin America and awarded Best Latin American Film at the San Sebastián International Film Festival, raises questions about being and, more explicitly within the film, about identity. Ortega has already accustomed us, and yet never ceases to surprise us, to profound themes treated through films that break away from the pre-chewed tradition of cinema, allowing viewers to question life, death, love, hatred, weariness, otherness, and the postmodern world.



El Jockey brings us closer to a disruptive, frenetic, dreamlike, and at the same time profoundly real form of cinema, something rarely found on commercial screens. Remo Manfredi, played by Nahuel Pérez Biscayart, the jockey and main character, faces an existential crisis regarding his career as a professional rider. After countless victories, trophies, and exorbitant earnings for his superiors or bosses, a true mafia-like and aristocratic refuge of the elite within the world of jockeying and gambling, the only way he feels capable of continuing in that environment is through the use and abuse of drugs and alcohol. In other words, by covering up his anguish. His refuge from this depression and from the exhaustion of a monotonous, material life is his girlfriend, another jockey named Abril, played by Úrsula Corberó, who has a promising future ahead of her and whom Remo loves deeply.
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