A man who assumes the identity of his deceased twin in Argentina.
It’s kind of remarkable that a female writer-director (Ana Piterbarg) has turned out a film with such passive, sketchy female characters; but that’s not the worst of this film’s problems.
The tools are here for a great atmospheric noir, but although Viggo broods terrifically, the film is a little underwhelming in the plot and plan department.
By relying so intently on her star to keep our interest, Piterbarg has a chance to quietly build up a sense of place, which gives the film a lived in quality that at least feels genuine, even if the story doesn’t.
Mortensen is on top form - twice over - but while the noir mood gathers like a black cloud, the story frustrates.
Everybody Has A Plan possesses the film noir elements that might have worked for Robert Mitchum in the Fifties but writer/director Ana Piterbarg lacks the confidence and conviction to pull it off.
The film, perhaps modelling itself on Antonioni's The Passenger, is stronger on atmosphere than plot, though committed support work from Castiglione and Villamil (The Secret in their Eyes) as Agustin's wife keep the attention tightly focused.
It is a strange film, and you have to let it grow on you: a drama with the premise of a high-concept thriller, but the drifting feel of arthouse realism.
The atmosphere can be cut with a machete, but the plausibility resides in Mortensen's distinctive performances rather than in the narrative itself.
General release. Check local listings for show times.
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