A boy walks to football with his mother; the father who should be taking him hasn’t come home, for reasons they don’t know, though the mother’s silence conveys the burden of what she must suspect.
Scenes with this boy have been dotted throughout the film, typically waking up his reluctant father to take him to play, before his father goes to work.
The football kicks off, the boy is dribbling with the ball. All too soon, distant gunfire breaks the laughter and everyone stops, waits, listens. Eventually the gunfire abates, and the game resumes. The mother watches on. This is the parting shot.
In the previous scene, Benicio Del Toro’s Alejandro tells Kate, our lead, that she reminds him of his daughter. These two moments brought the whole picture into sharp relief. In Kate, we have naivety; someone who discovers that the world is not what they thought it was, her preconceptions irrevocably shattered. In the boy, innocence in-extremis – an image made undeniable through the intelligence of its filmmaking.