Gianfranco Rosi’s terrific documentary El Sicario, Room 164 runs a compact, carefully modulated 80 minutes, the brunt of which is occupied by a man in a nondescript hotel room facing the camera and recounting elements of his life. For the entirety of the film, the man goes unnamed, wears an opaque black veil, and is dressed all in black. He is both our subject and our one and only source of information, a figure of both stark objectivity and quiet bias.
He’s middle-aged, perhaps in his 50s; this much we can discern, and he speaks and acts with startling directness and assurance given his criminal history. The man—who appears in Rosi’s previously unoccupied frame after a series of hauntingly unmoving shots of Juárez, a city on the border of the U.S. and Mexico, and a bland motel room—we come to learn, used to be a ‘sicario,’ the Mexican term for was is basically a hit man. In his childhood, the man was lured under the wing of a powerful drug cartel (referred to simply as a ‘narco’) and groomed until adulthood to obtain the skills necessary to reach the status of a sicario, instilled with capabilities of swiftness, identification, and blunt violence even, at one point, covertly accepted into the local police academy. As the film progresses, the man exposes with transfixing, unblinking declaration, the various methods and goings-ons within the criminal underworld he was once very much apart of, sharing with the audience his and others’ exploits, sometimes verbally and occasionally via physical reenactment. All of this is realized with impressive formal and structural integrity and scrupulous subtlety on Rosi’s part, with the talented director letting its sole subject speak for himself in the purest sense, for the most part restraining any interruption editorially or aesthetically. El Sicario’s subject is unwavering, succinct, and exacting, and Rosi admirably and fascinatingly mirrors the man’s cadence on an aesthetic and formal level.
The film is pocketed with brief, mysterious and elliptical interludes: chillingly unpeopled shots of Mexican streets, buildings, cars, and intersections, and, indeed, El Sicario derives much of its gravity from the terror and shadows of what we do and do not know. We come to get a sense of the man at the center of the movie on an intimate basis, but after the credits roll we still have no idea who he is or what he looks like. We become familiar with the inside of the seemingly inconsequential motel room in which the majority of the film takes place, and yet we’re never privy to what or where the motel itself is. The images Rosi conjures up, seemingly spaces to catch your breath between the staggering anecdotes and morsels of information our subject has to offer, are actually just as thrillingly cryptic as the interview segments themselves—though at first glance these snapshots of assorted mundanities are, well, just that, it slowly starts to sink in that we have no idea who’s operating the police car we’re following or what’s going on inside the building the camera is fixated on, and that lack of knowledge is one of the film’s strengths, and the feeling it produces its defining trait.