This article can be found in its entirety HERE.
“Nothing will make sense to your American ears and you will doubt everything we will do. But in the end, you will understand.” – Benicio Del Toro’s Alejandro in Sicario.
The opening sequence of Denis Villeneuve’s thriller Sicario serves as a precursor of things to come as idealistic, by-the-books FBI agent Kate Macer (Emily Blunt) finds herself in something entirely different than expected when storming a compound supposedly holding hostages. After a brief shootout, Kate and her colleague Reggie (Daniel Kaluuya) find bodies – 42 to be exact – hidden inside the complex’s walls, but it’s an explosion that claims the lives of fellow agents which sets her down a path as a volunteer with the peculiar Department of Defense contractor Matt Graver (Josh Brolin) and the even more mysterious former prosecutor from Columbia, Alejandro (Benicio Del Toro), in their quest to “dramatically overreact,” shake the trees and create chaos in an effort to get the man at the top. Little does Kate realize the trip down that particular rabbit hole will be equally unexpected… and cost her dearly when the approach ultimately presents the moral dilemma of whether the means justify the end.
One of the things immediately apparent with Sicario is its exemplary structure whereas the main character is separated from the typical protagonist function. As discussed in a previous article, the main character serves as the perspective the audience sees the story through whereas the protagonist drives the plot – a concept many still seem in the dark about. Here the audience identifies strongly with Kate because we know just as much as she does when she does, as the truth is slowly revealed. We are in her shoes and experience the story vicariously through her vantage point as part of the story’s design.
We’ve found a new home! You can read the rest of this article as well as others HERE.