“Tides of Transformation: Riding the Waves in Kill the Jockey”

“Kill the Jockey” (original title El jockey) is a striking, genre-bending film by Luis Ortega that plunges into addiction, identity, and rebirth wrapped in crime‑dramedy. Here’s a deeper dive:

At its heart is Nahuel Pérez Biscayart’s tour de force performance. As Remo—a washed‑up, substance-fueled jockey—he projects wounded charisma and volatility. Following a near-fatal accident, Remo emerges as Dolores, a figure wrapped in bandages and a fur coat. The transition isn’t mere disguise—it’s a visceral metamorphosis. Critics view Dolores as both a literal transformation and allegory for self-discovery:

• Roger Ebert praises the intimate evolution from “wretched man” to a luminous, sensual presence.
• MovieJawn notes that Dolores’s journey—“I gave birth to myself”—will especially resonate with trans audiences.

Filled with disorienting visuals—dancing jockeys, floating scenes, a woman walking on a ceiling—this is cinematic surrealism at work. Critics describe it as Lynchian absurdism with Almodóvar camp aesthetics .

• Tina Kakadelis emphasizes the film’s “down-to-earth surrealism,” where oddity meets real emotional stakes.
• However, some find the dreamlike narrative ambiguous. The New York Times called the mood “mannered blankness,” while Collider flagged it as “intriguing but boring pretty fast”.

The film centers on shedding identity versus conforming to expectations. Abril (Úrsula Corberó), Remo’s pregnant partner, tells him to “die and be reborn,” provoking his transformation.

• Social reading frames it as a queer redemption saga—Remo embraces Dolores and finds unexpected liberation.
• Yet, others argue it touches on too many themes—addiction, mob revenge, gender fluidity—without fully exploring each .

Cinematographer Timo Salminen (Aki Kaurismäki’s regular) and set design create visuals reminiscent of Haarlem portraits and Fellini tableaux.

• Swipe of neon jumpsuits, tight color palettes, and deadpan framing bolster style.
• Critics consistently note style over substance—but find that the overwhelming visual charm often redeems the thin narrative .

Clocking in at 96 minutes, the film moves from frenetic horse races and drug binges to a nocturnal, limbo-like city journey.

• Roger Ebert applauds its unhurried unraveling toward self-realization ;
• The Austin Chronicle, however, finds it “more intriguing than engaging,” as subplots (mobster Sirena’s side motives, Abril’s affair) feel underdeveloped .

• Rotten Tomatoes: 89 % Tomatometer based on 37 reviews. Consensus: a subversive, identity-driven thrill ride .
• Metacritic: Score 67 (“generally favorable”) .
• Venice Premiere: Screened at Venice (2024), competed for Golden Lion & Queer Lion, received nominations and awards (San Sebastián’s Horizontes Latinos, Argentinian submissions) .

“Kill the Jockey” is a daring, visually immersive exploration of gender, addiction, and transformation. For audiences drawn to cinematic experimentation, psychological depth, and fluid identity, it’s enthralling. But those preferring clear narratives may find its flights of style and surrealism evasive.

✅ Who It’s For

• Watch it if you love: queer cinema, surreal experimentation, rich visuals, identity arcs.
• Skip it if you prefer: strong narrative cohesion, emotional clarity, or traditional storytelling.

In short, Kill the Jockey is a bold, flamboyant act of self-reinvention that rides as much on style as it does on heart. It may feel fragmented, but it’s unforgettable—one of 2025’s most audacious cinematic transformations.

https://www.rottentomatoes.com/m/kill_the_jockey