The Aura (2005)

Having never hunted before, the search of an illusive deer, a shot in the thick of the Patagonian forest, and an accidental death lead to an identity switch evocative of Antonioni’s The Passenger, but Bielinsky’s protagonist is fumbling through a volatile and changing crime-in-the-planning, not an overpowering landscape, although the surrounding widescreen black-and-olive greenery almost submerges the characters.