7.3/10
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4 user 2 critic

Nadie hablará de nosotras cuando hayamos muerto (1995)

Escaping gangsters trying to kill her because of being witness to a crime, Gloria (Victoria Abril), a young woman of lower class, comes back to Madrid, Spain and to her family. There she ... See full summary »

Director:

(as Agustin Diaz Yanes)

Writer:

(as Agustin Diaz Yanes)
Reviews
27 wins & 4 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Gloria
...
Doña Julia
...
Eduardo
Ángel Alcázar ...
Juan (as Angel Alcazar)
...
Esperanza (as Maria Asquerino)
Fernando Delgado ...
Cura
...
Oswaldo (as Daniel Jimenez Cacho)
Ana Ofelia Murguía ...
Doña Amelia (as Ana Ofelia Murguia)
Guillermo Gil ...
Evaristo
...
Many
...
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 Rio)
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Storyline

Escaping gangsters trying to kill her because of being witness to a crime, Gloria (Victoria Abril), a young woman of lower class, comes back to Madrid, Spain and to her family. There she tries to find work and earn some money... Written by Volker Boehm

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

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Release Date:

5 October 1995 (Spain)  »

Also Known As:

Nobody Will Speak of Us When We're Dead  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

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Did You Know?

Connections

Referenced in Torrente, el brazo tonto de la ley (1998) See more »

Soundtracks

Waltz K
Performed by Julia Díaz Yanes
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User Reviews

Pulp Fiction without the irony
14 May 2003 | by (Lawrence, Kansas, USA) – See all my reviews

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.


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