Jennie Kermode’s Aftermath
The pursuit of ownership often masks deeper, more unsettling truths. This tension is powerfully explored in the compelling drama, Death Has No Master, a work helmed by director Jorge Thielen Armand.
At the heart of the film lies a dramatic collision between two women vying for a piece of history—a house tied to a deceased father. Asia Argento travels to Venezuela, driven by a quest to claim property that belongs to her, while Dogreika Tovar remains rooted in the property, holding a claim that complicates the narrative considerably.
This dynamic between Argento and Tovar forms the very core of the film’s compelling tension. It is a story where desire meets inheritance, and the lines between right and wrong are blurred by the ghosts of the past.
The genesis of the story is rooted in something far more visceral than a simple property dispute. The film’s origin story is vivid, stemming from a recurring nightmare—a psychological landscape that seems to dictate the events unfolding within the abandoned building and factory that serves as the backdrop for the characters’ struggle.
Director Armand draws upon this unsettling foundation to create a narrative that feels less like a simple drama and more like an exploration of deep-seated psychological forces. It is a masterful use of setting to reflect the internal turmoil of those caught within its walls.
The film has already garnered significant attention on the international stage. It was recently celebrated at Fantastic Fest, where director Armand shared the story, and subsequently received a prestigious premiere at Cannes, further solidifying its place among important cinematic works.
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