Like its seemingly innocuous protagonist, director Nelson Carlo de Los Santos Arias’ “Cocote” straddles two worlds. The film, which follows a Dominican groundskeeper returning to the rural village of his youth following the death of his father, possesses traces of the revenge thriller genre and its requisite narrative beats. However, outside of these moments, “Cocote” is an entirely different beast—a challenging watch that swings from the avant-garde to an ethnographic model of filmmaking.

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