Napoleón

The scouts

A student with delusions of grandeur and a teacher who enables it—sounds like setup for a cautionary fable, but García refuses the obvious moral, instead finding something genuinely unsettling in their mutual complicity; that's the kind of refusal to settle that usually gets labeled 'difficult' by people who mistake comfort for depth.

The formal restraint here—the way García frames the school as both mundane and claustrophobic—recalls a lineage of European coming-of-age cinema that trusts observation over exposition, though the darkly comic tilt keeps it from falling into the earnestness that lineage sometimes demands.

The film's entire weight rests on the peculiar chemistry between these two actors and García's decision to keep the camera patient and close during their exchanges; that intimacy transforms what could be a psych-case study into something uncomfortably tender and morally slippery, and it's achieved with almost no cinematic flourish.