Tournées

The scouts

The setup wants to be a searing indictment of supply-chain violence, but it plays it too straight—two figures on parallel journeys toward inevitable collision, all moral weight and no friction. González has the bones of something genuinely unsettling here, but he's afraid to let it get weird enough to actually *matter*.

A formally sophisticated essay-drama that locates itself squarely in the lineage of Harun Farocki and the political essay film, using geographic synchrony as its structural argument—the parallel four-day arc isn't just narrative scaffolding but a deliberate compositional choice that demands we hold two economies of violence in tension simultaneously.

The entire film lives or dies on the decision to intercut these two journeys in real time without ever letting them meet until the end, and González commits to it unflinchingly—that structural restraint, the refusal to collapse the distance, is what makes the final proximity actually sting.