Nadie hablará de nosotras cuando hayamos muerto (1995)

User Rating:

7.5/10   

Director:

Agustín Díaz Yanes

Writers:

Agustín Díaz Yanes (writer)
Alejandro Pose (writer)

Release Date:

6 March 1996 (France)

Genre:

Drama

Plot:

Escaping gangsters trying to kill her because of being witness to a crime, Gloria (Victoria Abril), a young woman of lower class...

Plot Keywords:

Gangster | Prostitution | Claim In Title | Suicide | Drugs

Awards:

26 wins & 4 nominations

Cast

Victoria Abril	...	Gloria Duque
Pilar Bardem	...	Doña Julia
Federico Luppi	...	Eduardo
Ángel Alcázar	...	Juan (as Angel Alcazar)
María Asquerino	...	Esperanza (as Maria Asquerino)
Fernando Delgado	...	Cura
Daniel Giménez Cacho	...	Oswaldo (as Daniel Jimenez Cacho)
Ana Ofelia Murguía	...	Doña Amelia
Guillermo Gil	...	Evaristo
Bruno Bichir	...	Mani
Demián Bichir	...	Omar (as Demian Bichir)
Marta Aura	...	María Luisa
Jorge Bosso	...	Empleado peletería
Saturnino García	...	Ramiro (as Saturnino Garcia)
Aurelio Río	...	Hijo Ramiro (as Aurelio del Río)

Also Known As:

Nobody Will Speak of Us When We're Dead

Runtime:

104 min

Country:

Spain

Language:

Spanish

Color:

Color

Certification:

South Korea:18 | Finland:K-16 | Portugal:M/18 | Spain:18

Filming Locations:

Madrid, Spain

Company:

Canal+ España

Movie Connections:

Features La guerra de los locos (1987)

Soundtrack:

Waltz K

Pulp Fiction without the irony

Nadie hablará de nosotros must have been in the right place at the right time. Otherwise it is hard to understand how it could have won so many Goyas. In some ways it seems like a ripoff of Pulp Fiction: a sympathetic character finds a way to steal some money from gangsters; one of the gangsters' hired guns has some second thoughts about his métier; beatings and shootings abound. The key difference is that Tarantino's story is so stylized, with the fragmented storytelling style and cool soundtrack, that the violence is as shockingly laughable as it is just plain shocking. Díaz Yanes' story, instead, includes a bunch of details that might add a more direct social message: Victoria Abril's character is a recovering alcoholic, working as a prostitude in Mexico City, whose husband is a comatose bullfighter, whose mother in law is a former political prisoner and torture victim of the Franco regime, and who thinks nothing of going back to prostitution when she cannot find respectable employment in Madrid; the killer who goes to Madrid to get her has a terminally ill daughter and thinks God may be punishing him for his sins; his partner is a gourmand who loves to cook and introduce people to new taste sensations. All this makes for a jumbled mess of a movie; there is adequate tension and interest, as a crime thriller needs, but it does not push the boundaries of the genre and does only a mediocre job of fulfilling them. Including graphic scenes of violence, physical and psychological, against Victoria Abril does not qualify as groundbreaking, entertaining, or even interesting.