The sociopathic side of Rosina
that left her sister wearing an
eye-patch returns as she em-
barks on a mission with the in-
tent of either harming Joselo
or winning his affections. Like
the unstable female protago-
nists of Straight on Till Morn-
ing and Ingrid Goes West,
Rosina steals the object of her
desire’s dog, keeping the mutt in
a forest while Joselo scours the
town for his prized pooch.
Meanwhile, sea lion carcasses
have washed up on shore, in-
dicating that maybe Rosina did
see a shark after all. The idea is
quickly put to bed by the town’s
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authorities, who invite a news
crew to dismiss any notions of
an impending shark attack. But
Rosina is determined to lure in
both the shark and Joselo.
On the surface, the idea of
blood in the water is a pretty
blunt allegory for Rosina’s sexual
awakening, but Garibaldi never
hammers home the metaphor.
Rather her film is as restrained as
cinema gets, as sleepy and sub-
dued as its seaside setting. There
are no great dramatic moments
here, simply a collection of minor
incidents that build to Rosina’s
ultimate act of potentially vio-
lent narcissism. In many ways it’s
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