Four hours and twenty minutes on the Argentine pampas, and I didn’t glance at my phone once. That’s either a miracle or a verdict.
Trenque Lauquen opens as a missing-person mystery and keeps becoming something else: road movie, love story, literary puzzle, ghost story, and a film about why certain mysteries burrow in and refuse to surface. Laura Paredes plays a botanist whose disappearance becomes less a case to solve than a trail to follow. Intelligent, stubborn, magnetic — I’d follow her down any rabbit hole.
And the rabbit holes are the point. Love letters hidden inside library books. A woman in local history reduced to fragments. A creature rumoured to haunt the lake. The film wanders down each path as if the detour might matter more than the destination — and it usually does. The question shifts from what happened to why we become obsessed with finding out. I didn’t want answers. I wanted more digressions.
Some will bounce off the length. I found it expanded rather than outstayed. By the end, I wasn’t waiting for Trenque Lauquen to solve itself. I was quietly hoping it would find another turning.