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A Claustrophobic Showdown of Moral Ambiguity

Director: Mariano Cohn
Writers: Mariano Cohn, Gastón Duprat
Starring: Peter Lanzani, Dady Brieva
Countries of Origin: Argentina, Spain
Runtime: 90 minutes

In Mariano Cohn’s tightly-wound thriller “4X4,” the director transforms a luxury SUV into a claustrophobic prison cell that serves as both narrative device and pointed social commentary on Argentina’s complex relationship with crime, justice, and class division.

The film follows Ciro (Peter Lanzani), a small-time criminal who breaks into what appears to be an unattended high-end SUV parked on a quiet Buenos Aires street. After helping himself to the car’s computer system and defiling the interior, Ciro discovers too late that he’s walked into a sophisticated trap. The vehicle, customized by its owner Dr. Enrique Ferrari (Dady Brieva), is a technological fortress – bulletproof, soundproof, and hermetically sealed from the outside world.

What begins as a straightforward premise quickly evolves into a psychological battle of wills when Dr. Ferrari establishes remote communication with his captive and reveals he can control all of the vehicle’s functions, leaving Ciro at his mercy. What follows is a dark, thought-provoking exchange between two characters who exist in a moral gray area – neither heroes nor conventional villains, but rather two opposing forces shaped by a society fractured by inequality and disillusionment.

Cohn and Duprat’s screenplay tackles “contentious and controversial topics such as enforcing justice outside the law, and the narrow line that separates victims from assailants.” The film asks difficult questions about vigilantism, social responsibility, and the breakdown of institutional justice without offering simplistic answers. The luxury vehicle becomes “a microcosm for Argentina, depicted as a nation that has lost faith in local law enforcement and the justice system.”

Lanzani delivers a remarkably physical performance, conveying Ciro’s escalating desperation while confined to the vehicle’s interior for most of the film’s runtime. Working with limited space, he manages to create a character who, despite his criminal actions, evokes complex emotional responses from the audience. Brieva provides the perfect counterbalance as Dr. Ferrari, whose calm exterior masks deep trauma and calculated vengeance.

The film’s technical elements enhance its claustrophobic tone, with cinematographer Kiko de la Rica making ingenious use of the confined space. Though not “as claustrophobic as the likes of ‘Buried,'” the panic and struggle remain palpable throughout as Ciro watches the outside world continue indifferently while he fights for survival.

Where “4X4” truly excels is in its refusal to provide easy moral clarity. Had Ciro been a more sympathetic character—perhaps someone breaking into the vehicle for noble reasons—the audience might find it easier to pick sides. Instead, Cohn forces viewers to confront uncomfortable questions about justice, retribution, and whether the ends ever justify the means.

Despite being set almost entirely within a single location with minimal characters, the film maintains tension throughout its runtime—a testament to Cohn’s skillful direction and the strength of the central performances. The social commentary never overwhelms the thriller elements, but rather enriches them with meaningful subtext about contemporary Argentine society.

“4X4” was recognized at several international film festivals, including nominations at Sitges, Cairo, and Havana Film Festivals, highlighting its appeal beyond Argentine borders as a universal examination of crime, punishment, and the human tendency toward taking justice into one’s own hands.

While currently holding a modest 5.7/10 rating on IMDb, “4X4” deserves greater recognition for its ambitious storytelling, technical prowess, and willingness to explore complex moral territory. It stands as a worthy 7.5/10—a taut, intelligent thriller that uses its high-concept premise to deliver both entertainment and thought-provoking social critique.

Rating: 7.5/10

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A family moves into a new house in a new area to support their son’s sporting ambitions. From the very beginning, it’s clear that someone—or something—is watching them, and before long, a ghost begins to make its presence known through poltergeist-like activity.

The cast includes Lucy Liu as Rebekah, the mother; Chris Sullivan as Chris, the father; and their teenage children, Chloe (Callina Liang) and Tyler (Eddy Maday). Beneath the surface, the film subtly portrays a dysfunctional family dynamic, with an evident favoritism between mother and son.

Enter Ryan (West Mulholland), Tyler’s charismatic yet slightly unsettling new best friend, who harbors a secret obsession with Chloe. Despite dealing with her own trauma—stemming from her best friend’s suicide via drug overdose—Chloe willingly entertains Ryan’s advances, unaware of his true intentions. Meanwhile, the ghost attempts to warn her, but she fails to see the signs.

The most unique aspect of Presence is its perspective—the entire film unfolds through the eyes of the ghost. While this isn’t an entirely original concept, the execution and storyline kept me engaged, constantly wondering what would unfold next. And let’s just say, it’s definitely not what you expect.

Directed by Steven Soderbergh (Sex, Lies, and Videotape), Presence at least attempts to bring something fresh to the paranormal genre. However, the theatrical trailer does the film a disservice, overselling it as “the scariest film you will ever see”—a claim unlikely to impress seasoned horror fans.

Final Verdict

Presence does not secure a place among horror classics, nor is it likely to become anyone’s favorite horror film. The potential was there, but it feels underexplored. As it stands, Presence is a mediocre way to spend an hour and 24 minutes—entertaining enough in the moment but leaving little lasting impression.

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Dead End Drive-In (1986) – An Ozploitation Classic more Relevant than ever.

Dead End Drive-In is an under-rated Australian cult film that blends dystopian Sci-Fi, social satire, and Ozploitation into one mind-blowing package. Directed by Brian Trenchard-Smith, the film takes a desolate but crazily entertaining look at a future where society has given up on its undesirables by imprisoning them in a rundown drive-in which has been turned into a government-controlled detention centre.

The story follows Jimmy (Ned Manning) and his girlfriend, Carmen (Natalie McCurry) as they go to the drive-in for what should be a good night out. Instead, they find themselves captive when their car’s wheels are stolen—a trap staged by the government to keep the unemployed and delinquents contained. What evolves is a vividly stunning descent into a punk-infused fever dream, where the youth learn to adapt to their new prison in surprising ways.

 Dead End Drive-In is soaked in vibrant colours, graffiti-covered cars, and the classic punk/new-wave fashion style that screams ‘80s to the extreme. The soundtrack engulfs the anarchic energy, and Trenchard-Smith’s direction sees the film remains fast-paced and visually spectacular.

Overall Dead End Drive-In is a social commentary. It scrutinises a society that willingly distracts itself with entertainment while the government quietly locks away those deemed unfit for society. This film encompasses youth disillusionment, materialism, media control and shadowy government bodies, all topics so relevant to now.

Director Brian Trenchard-Smith is an Australian filmmaker known for his contribution to genre cinema, particularly Ozploitation. His career, which spans several decades, is defined by his ability to craft high-energy and visually stunning films, culminating in classics such as The Man from Hong Kong and Turkey Shoot.

Final Verdict:

If you love Ozploitation films and dystopian cinema, Dead End Drive-In sits on top of the must-see Australian classic movies. In today’s political and social climate, its storyline and social commentary make it a must-watch film.

From the Editor:

While Dead End Drive-In is available on various streaming platforms around the world, we recommend you look for the 4K UHD release.

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