More recent Hollywood treatments of the finance world have become didactic to the point of agitprop, coinciding with a realignment of American politics in which Republicans have gotten more trade-protectionist and young people more socialist. When the antiheroes are running things, they get to give the speeches. "They want what we have to give them, but they also want to play innocent and pretend they have no idea where it came from," he complains from his convertible. Publics who had been happy with Wall Street's toxic adjustable-rate mortgages when it meant bigger houses and fatter 401(k) accounts for the little guy. In 2011's "Margin Call," which depicts the start of the 2008 financial crisis, a midlevel trader played by Paul Bettany unapologetically rails against the John Q. "I want you to deal with your problems by becoming rich," Leonardo DiCaprio's Jordan Belfort exhorts a mob of ecstatic traders. Martin Scorsese's "Wolf of Wall Street" (2013) drinks Champagne from the same Reagan era flute. In Oliver Stone's 1987 "Wall Street," financier Gordon Gekko's iconic "greed is good" speech summarized the intellectual status of a decade of deregulation, junk bonds, leveraged buyouts and retreats by organized labor. movies about high finance, which can't help but explain themselves, usually loudly. The film's title is a banking codeword for "be quiet, careful what you say," and the story prefers the horrors of the unsaid.Īmerican viewers will find that "Azor" - the first feature-length film by Swiss director Andreas Fontana, now streaming on Mubi - is a minimalist departure from U.S. Not least because it's unclear where a banker's loyalties might lie when the military suddenly has an "El Dorado" of seized assets that only someone with French cuffs and a Swiss passport can easily liquidate. While De Wiel visits the wealthy's sitting rooms, swimming pools and exclusive clubs, the nation's violence stays off-screen, but the dread never leaves the frame.
"They’re chasing us like rabbits," a matriarch tells De Wiel the first moment she's sure she won't be overheard. Their polite Swiss banker can't protect them from a gangster government that kidnaps their racehorses and their heirs with leftist tendencies. But unlike many movies about the impunity of the 1%, the elite of "Azor" are homebound, paranoid and scared to speak the truth above the volume of a whisper.
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“You don’t have to worry,” the banker's driver reassures De Wiel they're in a Swiss Embassy vehicle, shrouded in diplomatic and moral immunity.Ī soldier waves the car through, and De Wiel - whose own Swiss partner has also gone inexplicably missing - is off to reassure his jittery, ultrarich Argentinian clients that their money and their secrets are safe. After the camera cuts away and returns, only one young man remains, his partner joining the ranks of Argentina's thousands of desaparecidos. In an opening scene, De Wiel watches quietly as soldiers detain two young men on the street. In the sly new finance movie "Azor," a Swiss banker named Yvan de Wiel is visiting Argentina in 1980 on business, but the military dictatorship's "dirty war" against its political opponents keeps slithering up around him.
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