Michel Hazanavicius’ “The Most Precious of Cargoes” is a poignant, animated fable set against the harrowing backdrop of the Holocaust. This evocative tale is brought to life by Nahuel Pérez Biscayart, known for his role in “BPM,” who stars as a deeply troubled jockey whose life takes an extraordinary turn following a catastrophic accident on the racetrack. Directed by Argentinian filmmaker Luis Ortega, renowned for “El Angel” and “Dromómanos,” this Venice Film Festival entry, “Kill the Jockey (El Jockey),” seamlessly blends psychological thriller, comedy, and surrealism into a visually lush narrative.

Ortega’s masterful direction is complemented by his signature touch for impeccable music choices. “Kill the Jockey” boasts a dynamic soundtrack, financed in part by Warner Music Entertainment, that mixes Latin pop, synth-heavy EDM, local tangos, and original compositions by Sune Rose Wagner. This eclectic musical blend pairs beautifully with the film’s vibrant color palette and boxy 1:85 aspect ratio. The deliberate stillness and stylized performances evoke the distinctive aesthetics of Finnish auteur Aki Kaurismäki, a comparison further cemented by the involvement of Kaurismäki’s long-time collaborator, cinematographer Timo Salminen.

The film’s retro aesthetic is meticulously crafted through its production and costume design, evoking the style of the 1950s or ’60s. The men’s suits and the unique attire of Biscayart’s character, Remo Manfredini, such as a full-length mink coat with bracelet sleeves and a tightly wrapped padded bandage resembling a pillbox hat, add layers to the film’s visual storytelling.

Initially, we meet Remo in a Buenos Aires bar, drowning his sorrows in alcohol. The bar’s unsmiling staff and patrons look on as he is forcibly removed by the henchmen of his employer, Sirena (Daniel Giménez Cacho). Sirena, a regional gambling kingpin, is never without his peculiar accessory—a baby, often carried by himself or his men like a weapon. This bizarre detail adds a layer of absurdity to Sirena’s otherwise menacing character.

As Remo prepares for an upcoming race, his spiraling alcoholism becomes evident. He barely makes it out of the starting gate at one event, while his lover and professional rival, Abril (Úrsula Coberó of “Money Heist”), wins the race. Their celebration is marked by a memorable disco dance that stands out as one of the film’s most endearing moments. Abril’s pregnancy with Remo’s child adds complexity to their relationship, though her indifference to Remo’s involvement in parenting suggests a pragmatic acceptance of his flaws. Meanwhile, another jockey, Ana (Mariana Di Girolamo), openly expresses her romantic interest in Abril, introducing a tender sapphic subplot to the story.

Despite Remo’s unreliable nature, Sirena insists he rides a newly acquired chestnut stallion named Mishima in an upcoming race. As Remo takes the lead, he inexplicably veers into a fence, resulting in severe injuries and leaving Mishima’s fate unknown. Remo awakens in a hospital with amnesia and soon after steals a fur coat and pocketbook from another patient before wandering the streets of Buenos Aires.

The remainder of the film chronicles Remo’s transformation as he renames himself Dolores and embraces a new identity with she/her pronouns. This journey explores themes of gender identity fluidity and modern masculinity’s fragility. The screenplay by Ortega, Rodolfo Palacios, and Fabián Casas steers clear of heavy queer theory or deep character motivations but instead relies on the charismatic performances of its cast to maintain viewer engagement.

Ultimately, “Kill the Jockey” feels like a stylish exploration of identity through a unique and whimsical lens. The film’s fashion-forward sensibility and Ortega’s distinctive vision make it an intriguing cinematic experience that lingers long after the credits roll.