Safari (1970)

Dakota, a young American, arrives in the Dominican Republic at the dawn of the Trump era with little idea of why he is there, where he is headed, or what might come next. After checking into a beachside hotel, he finds himself in the crossfire of a volatile love triangle between two hotheads and the mysterious and elusive femme fatale Fabiola. The second feature by Juan Antonio Bisonó (Mosh) is a love letter to film noir both classic and contemporary - if the love letter in question was never sent because it got burned to a crisp by its dejected author - and a romantic comedy in reverse, where a breakup precedes the meet-cute, shaking up the beloved and her suitors like a spiked rum cocktail in the Santo Domingo sun.