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Killing the Dead

Name: Killing the Dead
Director: Hugo Giménez, Farhan Rana Rajpoot
Released: 2019
Duration: 87 min

Representation Score

3.7/10

Limited

2019

Director

Hugo Giménez, Farhan Rana Rajpoot

Runtime

87 minutes

Average Rating

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New Showbiz Analysis

Killing the Dead is a political thriller that focuses on systemic issues rather than individual heroics. It avoids idealized or sanitized versions of history, concentrating instead on the everyday complicity within a dictatorship. The film effectively critiques state authority from a cultural perspective. By analyzing the mechanisms of state-sponsored violence through a local lens, it provides a nuanced view of institutional oppression. However, the film falls short in representing diverse gender perspectives, LGBTQ+ identities, and disabilities.

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Category Breakdown

Does Killing the Dead have LGBTQ+ representation?

Minimal

The film does not include any LGBTQ+ characters or stories. The plot centers on the political and existential struggles of the main trio.

How does Killing the Dead portray gender?

Fair

The story is predominantly male-focused, reflecting the historical political context. It lacks strong roles for women and does not challenge traditional gender power dynamics.

How racially and ethnically diverse is Killing the Dead?

Good

By focusing on a Paraguayan setting, the film presents a non-Western viewpoint. It challenges Eurocentric dominance by highlighting South American historical suffering.

How does Killing the Dead represent religion and culture?

Excellent

The film critically examines oppressive political systems. It highlights the dehumanizing impact of state power and the complicity of individuals within those systems.

Does Killing the Dead include disability representation?

Minimal

There is no specific depiction of physical or neurodivergent disabilities in the film.

Present on Screen

Presents a meaningful non-Western perspective on political violence and historical trauma.
Offers a sophisticated critique of state power and institutional oppression.
Challenges Eurocentric dominance by focusing on a South American dictatorship.

Limited or Absent

Lacks strong female roles and diverse gender perspectives.
Does not represent LGBTQ+ identities or non-traditional narratives.
Shows no evidence of portraying physical or neurodivergent disabilities.

Official Synopsis

Paraguay 1978, during Stroessner’s dictatorship, Pastor and Dionisio work burying bodies illicitly. In Argentina, the World Cup is being held. One morning, among the bodies, they find Mario, who is still alive. They know they must kill him but the problem is: in spite of what they are doing, they have never killed anyone before. A storm indicates that the winter is coming while the destiny of the three men is determined during the World Cup final. Both Pastor and Dionisio are the last link of a chain in the terrible system that has as a result in all the missing people.

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