Don’t be deceived by the apparent simplicity of this film. At first it appears to be a touching and beautiful exploration of an older man’s journey to find his place in the world. Not that this theme is lost. As a foreigner to South America, I felt an immediate affinity with Coco, who seems lost and uncertain of how to proceed in the world he lives in, just as I felt uncertain of how to cross the cultural and social landscape of the vast and barren Argentina in which Bombon is set. Coco’s attempts to force the issue, by looking for a new job or selling his homemade knifes in order to make a living, meet with utter failure. In fact, it is only when gives in to his natural goodness and goes with the flow that the world starts to present him with opportunities that, if he follows without question, will give him a direction so that he can eventually find his path and his place.

This theme of the passive journey is highlighted by Coco’s relationship with his new companion, Bombon, the Dogo breed dog. Coco’s attempts to force Bombon to do anything, whether it be to get out of the car or to mate are met with utter failure. It is only when he respects and accepts the dogs decisions (as he does in his first encounter with Bombon) and gives him freedom that are problems resolved.

Here is where the central theme of the movie reveals itself. The lack of use of violence as a narrative device is more apparent as the films goes on. Again and again I expected something violent to happen to Coco or Bombon but this does not happen. This is highlighted further by the fact that Bombon is identified as a very violent breed of dog. On introducing the dog, the previous owners discuss violence as nature versus nurture in certain dog breeds, but perhaps what the director, Carlos Sorin, is really discussing is the necessity or choice to use violence in film. We expect Bombon to die (as dogs traditionally die in films), we wait for Coco to be hurt and taken advantage of by the trainer and yet when these things do not happen, the film continues without losing direction or feeling. The growth of Coco is still complete and we love the characters no less as their journey hasn’t been diminished by the lack of pain. In a culture where each film needs to have its characters survive more than we could possibly imagine (and more importantly, more than any other film has done before), it is jarring and revealing to watch a film like Bombon and realize how much pain and violence has become accepted as a necessary tool of films today.

Bombon is a classic hero’s journey. From the introduction of the loner who is doing his best but clearly flailing, to the entrance of the mystical force that changes his life and finally the ending, where he has overcome all obstacles, reconciled his old and new lives and is the master of his destiny. The difference here, however, is that this hero find his path without pain or corruption, leaving you to heave a happy sigh.

I highly recommend this film to anyone who enjoys being reminded of what watching too much Hollywood can do to you and that violence isn’t the only way to success or redemption. I give this film 4 stars.