Asia Argento Stars in Cannes 'Death Has No Master'

Get the Culture newsletter
Daily culture — film, music, books, the trends and ideas worth your attention. Free.
- "Death Has No Master" premieres in Cannes' Directors' Fortnight, with Asia Argento playing an Italian-Venezuelan woman returning to reclaim a cacao plantation from the Afro-Venezuelan caretaker and her son who currently live there.
- Director Jorge Thielen Armand drew on his own family's abandoned Venezuelan plantation and a recurring nightmare of returning to find everything changed, describing the film as 'that nightmare of going back, finding that the people and things you left behind are no longer there.'
- Production overlapped with US intervention in Venezuela: Trump sent warships to the area last August ostensibly to fight drug trafficking, and in January the US arrested Maduro and seized control of the country and its oil industry — context Armand called 'the collective darkness that Venezuelans feel, and the betrayal of domestic and international systems.'
- Asia Argento immersed herself by living in isolation at the shooting locations, channeling her own difficult childhood as daughter of horror maestro Dario Argento and Suspiria co-creator Daria Nicolodi into Caro's fraught relationship with her abusive late father.
- Armand's 2016 debut "La Soledad" explored the same family mansion, blending documentary and fiction from the squatters' perspective; the new film deliberately flips the lens to the landowners' side.
- The film refuses easy moral binaries: Armand frames Caro's legal claim, caretaker Sonia's moral claim, and Indigenous character Johnny's historical legitimacy as equally weighted, concluding that 'land isn't owned, ever. It's just controlled by the use of force.'
Why it matters: Cannes audiences will see a film whose anxieties about colonial extraction, land ownership, and inherited violence were literalized by real events during its production — the US seizure of Venezuela and its oil industry happened while Armand was still on set. The director explicitly says the timing 'only makes those multitudes greater,' turning an art-house inheritance drama into a document of the moment's geopolitical tensions.




