This article will explore the first two feature films by Argentine filmmaker Pablo Fendrik, The Mugger (2007) and Blood Appears (2008), focusing on the displacements of the characters across the urban space and the various forms of violence that comprise the narratives. In these films, the city constitutes a powerful axis to apprehend social life and its conflicts; it is not just the setting, but also a fundamental and structuring element. The movement is configured as an organising piece of the experience and determines the direction and rhythm of events. The violence against the bodies reverberates in broader social violence, and the physical displacements represent despair, agony and the lack of a way out before the situation they face. I aim to analyse how the film depicts the experience of walking and interacting in a hostile environment that surrounds and pressures the characters, the uninterrupted transit to which they seem to be condemned, and the brutality that contaminates all the relationships.
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