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Matar al Nani (1988)



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Cast overview, first billed only:
Frédéric Deban ...
Santiago Corella 'El Nani' (as Frederic Deban)
José Pedro Carrión ...
Gálvez (as Jose Pedro Carrion)
Lola (as Eulalia Ramon)
Chema de Miguel ...
Fermí Reixach ...
Richard (as Fermin Reixach)
Albert Vidal ...
Manuel Soto
Damián Velasco ...
Luis Tejada (as Damian Velasco)
Compañero de Gálvez
Miguel Ángel Salomón ...
Molero (as Miguel Angel Salomon)
Yolanda Farr ...
Esposa del marqués
Padre de Nani (as Jose Soriano)
Ricardo Lucía ...
(as Ricardo Lucia)
Ayudante de Soto (as Pedro M. Martinez)
Manolo Guijar ...
Marqués (as Manuel Guijar)
Manolo Fadón ...
Chino (as Manuel Fadon)


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Release Date:

22 April 1988 (Spain)  »

Company Credits

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Technical Specs



Aspect Ratio:

1.85 : 1
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Did You Know?


Frédéric Deban recited his lines in French, later he was dubbed by José Luis Gil. See more »


Featured in ¿Dónde estabas entonces?: 1983 (2018) See more »


Bulerías del Barrio de Santiago
Written by Alfonso Gubarri
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User Reviews

Mediocre ¨Quinqui¨ film about hold-ups , survival and police corruption , including shocking finale
4 April 2016 | by See all my reviews

Violent film dealing with delinquency , robbing , dirty war , drug addiction and other dramatic events . Strong look about youthful criminality and based on real events , including political happenings in Spain from the 80s , being stared by a devoted to crime young who is living in slums . Hard-boiled film about juvenile delinquents , hold-ups and upon prison life where the starring -born in a marginal family- is harassed and humiliated until that fury and revenge emerge . It deals a delinquent nicknamed ¨El Nani¨ (Frédéric Deban who looks exactly like Alain Delon) , at the beginning he carries out a violent heist at a mall , after a frenetic car pursuit is detained . But Nani is chased and locked-up , accused for robbing , being led to Carabanchel jail . In prison is harassed by other inmates but he gets independence using his violent means of auto-defense . Later on , thanks to a bail he is freed and forced into street hustling and ever-expanding life of crime . Nani again hang out with his wife Lola (Eulàlia Ramon) and their child . Nani forms a criminal group with José Gálvez (Pedro Carrión) and Teo (Chema de Miguel) and execute heists in San Sebastian and León . They join forces with Richard (Fermí Reixach) , the jeweler Molero (Miguel Angel Salomon) along with El Marques and his wife (Yolanda Farr) who plan their armed robberies . All of them become involved with a high state power : the police command run by Manuel Soto (Albert Vidal) . Both of them scheme and carry out robberies to earn money in and around Madrid . As the trio of robbers attacks jewelries but the events get worse . With the change of government : power raising Felipe Gonzalez (1982) , the Socialist Interior Minister calls for more police control in jewelry robberies and stolen merchandises are located . The film was released in April 1988 , before the judgment of the Madrid Provincial Court in which sentenced three police officers to the disappearance of Santiago Corella .

This is mediocre look at delinquency and policy abuse , including shocking and dramatic ending . The film shows the widely dark police and underworld business , as well as the impunity of the security forces to crimes they commit themselves . Inspired by an actual case , giving a realistic look at delinquency world and life behind bars in ; however , the police events result to be imaginary and excessive . The best part is narrated into prison because of it reflects the astonishing existence of the convicts , with threats as well as violence and where rules the strongest's law . ¨Matar Al Nani¨ is one of several movies dealing with youth delinquency in Spain during the 70s and early 80s and it belongs to ¨sub-genre Quinqui¨ along with ¨Perros Callejeros I and II¨, ¨Perras Callejeras¨, ¨Los Ultimos Golpes Del Torete¨, ¨Yo el Vaquilla¨, mostly realized by Jose Antonio De La Loma , ¨Navajeros , "Colegas", "El Pico " , and especially ¨Deprisa , Deprisa¨ by Carlos Saura and later on , ¨La Estanquera De Vallecas ¨ , among others . Most films mixed exploitation , nudity , violence , with asocial commentary . Drugs , delinquency , terrorism and generational problems are the habitual themes in this genre , and specially dedicated to the underworld of heroin . Seen today , these films are unique documents on how life was lived and perceived during that period . These flicks were notorious in the years of the Spanish transition to democracy including provoking and polemic issues and played by unknown young people . They still have the gritty edge , the naturalistic approach and the poignancy that made them successful at the time . At style is pretty much urban and realistic as well in the atmosphere as in the fresh happenings . We see their troubles growing in such streets , neighborhoods and some fine locations . These flicks show the ugliness of those "barrios" , toughness and cold existence of the humble people , including great looks at young life and friendship in the margined side , letting the stories flow efficiently and being realized in realistic style . Passing of time hasn't had mercy with most of those movies , but they represented a time and a way of life in history of Spain ; and now they may seem a little bit naive . ¨Matar Al Nani¨'s screenplay written by prolific writer/director Vicente Escriba is such strong with disagreeable events , but it has not fidelity , neither accuracy , with events distortion and twisting deeds , spreading brutal tortures , including : hitting , punches , hanging , kick-ass and many other things . Filmmaker Bodegas chose young and natural actors who play middlingly their parts , unafraid of filmmaker's unsympathetic camera and the particularity of the characters . Atmospheric photography with juicy atmosphere by Fernando Arribas deemed to be one of the best Spanish cameramen .

The film was regularly directed by Roberto Bodegas with some flaws and gaps . In this work he shows how thin is the line between contention and excess , between drama and exploitation . Here Roberto attempted to take a position in favor of outcast people . Despite the expectation created among the population by the "Case Nani" is reflected , the film failed to attract a large number of spectators . Bodegas is a talented Spanish movies director , he began working in cinema in 1971, though he became notorious in the years of the Spanish transition to democracy with peculiar comedies called ¨3ª Via¨ , such as : ¨Españolas En Paris¨, ¨Vida Conyugal Sana¨ , ¨Los Nuevos Españoles¨ and ¨La Adultera¨ . His best film was ¨Libertad Provisional¨ stared by Concha Velasco .

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