Viggo Mortensen is one of the biggest stars in the movie business, but you might have a hard time believing it based on the projects he chooses.

The actor, who rose to fame partly because of his turn as Aragorn, has actually moved away from the spotlight. He worked in the recent drama "Two Faces of January," which starred rising star Oscar Isaac and Kirsten Dunst, but his most recent project "Jauja" might be the most unique of all the films he has been in to date.

The film, directed by Argentina's Lisandro Alonso, tells the story of a father and his daughter as they travel through a desert far from their native Denmark.

As the film opens, the viewer is treated to a wondrous 4:3 frame that looks like a mixture of a photograph and painting. Mortensen's father sits a bit off to the right from the center of the frame with his back to camera while his daughter (played by Viilbjørk Malling Agger) sits beside him but facing toward camera. It is an arresting image with a ton of focal points and the viewer is left marveling at the daughter Ingeborg as she looks on longingly at her father, who is neglecting her and the viewer. The image is actually haunting later on in the film when his identity becomes somewhat murky and the distance in their relationship is brought to the fore physically and metaphorically.

From here on out, Alonso and cinematographer Timo Salminen treat the audience to one beautiful deep focus frame after another. The staging of the imagery could not be more potent in its use of said deep focus. In one of the first images of the film, a military captain is shown in lake masturbating. He is in the foreground (the action is portrayed very tastefully) while the right side of the frame is left bare with a ton of seemingly empty space. However, as the image develops, Mortensen's character appears from behind some sort of structure in the distance. In another brilliant image, Mortensen walks away from the frame while his daughter walks in the opposite direction, another illuminating image that portrays their relationship while creating some visual suspense. These long takes create a sense of anticipation in the viewer. Where is this shot going? In what direction will the action be staged in the frame? Often times the answers to these questions are anticipated by the viewer, but it is still powerful to see these expectations fulfilled.

The pace is lax and some audiences may grow weary of the lack of cutting. After the screening, this reviewer heard another reporter make the comment, "I guess they don't have the word for cut in Spanish." Regardless of the tone of the comment, there is certainly a point to take away. While the slow pace might not suffice for those used to the quick cutting and overuse of closeups in American cinema, it is a wondrous example of just how powerful the still frame can be and the true greatness of intelligent and thoughtful staging.

The script on the other hand leaves a lot to be desired. Early on the films sets up a number of characters aside from the father and daughter. There is the captain who seems to have some sexual desires for the daughter. There is a young man who is seemingly in love with the girl as well. And then there is the captain's right hand man and another gentleman who is after the mythical leader Zuluaga. However, about 20 minutes into the film the entire narrative does away with all but three of these characters. And in short order, the other one is done away as well. The narrative then becomes the father's search for his missing daughter. There is basically no dialogue throughout this sequence (and it is really unnecessary).

And then the film takes on a rather shocking twist that becomes increasingly eerie as it reaches its breaking point. There are plot twists galore in the film's final 20 minutes and many viewers will undoubtedly walk out wondering what the point of what they saw was. And they might be right. There might not be a point. Or there just might. It seems that this is ultimately Alonso's real quest with his tricky film. To make the viewer question everything and then realize the potential insignificance of it all.

"Jauja" will not appeal to everyone. But those willing to play by Alonso's rules will be treated to a gripping introverted turn from Viggo Mortensen and some truly fantastical imagery.