A routine operation on a dog ends in tragedy when veterinarian Mario (Guillermo Arengo) makes a crucial mistake. Whether it was negligence or an error in judgment we’re not sure. What we do know is that the dog is dead and the owner is mad.
Mario and his recent retiree wife Silvia (Pelusa Vidal) live cushy lives in Montevideo, Uruguay and they want to keep it that way. The dog’s death is a catalyst for the chaos in their lives. Protestors make a scene outside Mario’s clinic. Someone has broken into their home and Silvia suspects their maid. When Mario and Silvia stay at their daughter’s home for a while, paranoia sets in. A violent act sets Mario and Silvia in motion to preserve their status quo.
Written and directed by Matias Ganz, A Dog’s Death/La Muerte de un perro is a quiet and subversive thriller that demonstrates the lengths people will go to keep their comfortable lifestyles. There is a clear message about the social and economic inequalities of present day Uruguay. The subjects who suffer the most are the maid and her boyfriend who are lower on the social ladder as indigenous blue collar workers. Mario and Silvia as more prosperous Caucasians benefit from their status and can easily cover up their irrational behaviors.
Ganz was inspired to tell a story about the social and political turmoil of his home country with an influx of immigrants and a strong culture that takes pride in their European ancestry. In his director’s statement he says…
“A large part of the country’s population is of European descent and does not feel like they belong to those who have been wrongfully named Latinos… Politicians latch on to any petty crime to enhance their electoral chances… thus feeding the people’s growing sense of insecurity.”
A Dog’s Death/La Muerte de un perro captures the social turmoil of a country in flux through its focus on the absurd actions of a microcosm of its upper middle class culture.
A Dog’s Death/La Muerte de un perro had its North American premiere at the 2020 Slamdance Film Festival.