[I’ve temporarily interrupted the hiatus over on Latin America on Screen for an analysis of Kill Bill.]
Perhaps surprisingly, at the end of a two-part movie extravaganza that’s so much a homage to pop culture Orientalism, the climactic “final chapter” of Quentin Tarantino’s Kill Bill turns out to be a rather sedate melodrama in Latin American setting.
It’s true that plenty of the preceding action has also taken place on the Southwestern frontier: Texas and Southern California. The shift south of the border is, then, not unlike the move in the Tarantino-penned From Dusk to Dawn from an extended crime sequence in the US desert to the occult sensuality of a Mexican biker bar.
Still, the sudden and (here) almost random displacement is jarring in both films.