Essayist executive Jonas Cuaron’s forcefully made yet shortsighted second component shares a reductive perspective of migrant and outskirt issues.
The old Most Dangerous Game/The Naked Prey man-stalking configuration is uncomfortably forced on a Mexican foreigner account in Desierto, a forcefully made yet shortsighted second component from author chief Jonas Cuaron. Despite the fact that the stream of Mexicans into the United States has been a topical matter for a considerable length of time, the way that the whole subject of transients worldwide has this year turned out to be such a hot-catch issue could well work to this present film’s favorable position.
Be that as it may, the display of a Confederate banner donning redneck chasing down Mexicans stranded in the desert with a brutal pooch and a powerful rifle doesn’t generally add anything accommodating to the huge discussion about migration. The film’s undeniable topicality will place it in the spotlight, yet the possibility of a screwball American introvert utilizing frantic outskirt crossers for target rehearse doesn’t speak to the main problems in play in any significant or exact way.