IMDb > Ramírez (2008)
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Ramírez (2008) -- Ramirez is a contemporary portrait of an attractive, lonely young man who wanders aimlessly through life. A night stalker and drug dealer on the look out for anonymous young women in the city streets that he can pick up and seduce.
Ramírez (2008) -- Cine.gr - Trailer (Flash)

Overview

User Rating:
5.9/10   36 votes
MOVIEmeter: ?
Down 13% in popularity this week. See why on IMDbPro.
Director:
Albert Arizza
Writer:
Albert Arizza (screenplay)
Contact:
View company contact information for Ramírez on IMDbPro.
Genre:
Thriller more
Tagline:
A real independent Spanish thriller more
Plot:
Ramirez is an attractive lonesome 25 year old that leads a creepy double life. He is believed to be an artistic photographer... more | add synopsis
Plot Keywords:
Awards:
2 wins more
NewsDesk:
Sitges Award Winners! Surveillance is Best Picture. Full List of Sitges 08 Award Winners!
 (From Movie Jungle. 13 October 2008, 5:43 AM, PDT)
User Comments:
Unframed (no) narrative more (3 total)

Cast

  (Credited cast)
Zoe Berriatúa ... Bruno
Tacuara Casares ... Girl 2
Geraldine Chaplin ... Galerist
Hui Chi Chiu ... China
Gaelle Diego ... Girl 1
Olalla Escribano ... Paquita
Reyes Hiraldo ... Pastillera
Cristian Magaloni ... Ramirez
Hub Martin ... Falsificador
Sara Martín ... Maria
Anastasia Meriaux ... Sheila
Luis Mesonero ... Gay
Samuel Sánchez ... Traficante
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Additional Details

Parents Guide:
Add content advisory for parents
Runtime:
96 min
Country:
Spain
Language:
Spanish
Color:
Color | Color (High Definition)
Aspect Ratio:
1.85 : 1 more
Sound Mix:
Dolby Digital
Filming Locations:
Madrid, Madrid, Spain more
Company:
Cinema Resistance more

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User Comments

   (Comment on this title)
1 out of 4 people found the following comment useful.
Unframed (no) narrative, 8 October 2008
Author: ruiresende84 (ruiresende84@gmail.com) from Porto, Portugal

I watched this in the Sitges festival, so i was able to be at a post screening in whitch the director was presented. When asked about his cinematic references, he indicated that Bresson's 'Pickpocket' was a sort of loose guide to this work. I believe him, i believe he was being honest and that felt the inclination to follow that work. But i don't think this film has so much to do with the kind of visual work Bresson did. This is nested in a kind of narrative that brings out daily apparently uninteresting actions, and tries to exploit a character and the subsequent dynamics of his behaviour from there. It has been done, in relatively recent years, by some directors. It probably had a seed in the work of Godard, in the 60', but back than he and his new wave friends were worried about other issues and didn't pay attention to that specific thread they were opening. To contemporary eyes, this kind of daily actions conducted narrative was probably best mastered by Pedro Costa, starting with his 'Ossos', who has since mastered that dark corner of a universe he created for himself. The danish Dogma had a word on this as well, but i think in the way they got lost in their own self-imposed rules. Curiously, so far the examples we have only contemplate stories centered around one character, who has to be weird or obsessed enough to make the thing work. That's the case here: sexually moved serial killer, also a drug dealer, disguised as an artist. Mother related unsolved issues. The action occurs between Madrid and Segovia, city-country opposition, i suppose, also the reason to place a sense of journey, endless path that involves most of the cinematic characterization of a serial killer. I was impressed to find out this was an independent production. I knew very little about the film before i watched it, and when i heard it was made under very strict budgets, i was deeply impressed. The artistic work is quite solid, sober in a way i really appreciate, and the use of the city (Madrid) was quite good. Concrete enough to allow us to recognize it, but abstract enough not to let us fall into clichés and deviate from what mattered. It's difficult to see that. What diminished the experience to me was what usually does it with Costa's films. I don't think a contemporary film, made today for today's publics has to obey to a classic story form of intro-development-climax-conclusion, but it should go somewhere. Not narratively, not that it had to happen something on the facts of the story, but on the visual side, or any other thing. It was safe to leave the film as it was, because it didn't imply taking the risk of making it something else. The answer for what i'm saying is, in quite different forms, can be found in Wenders, Antonioni, and in a different plan, in Herzog, a master in capturing madness, or better still, finding it in us, the viewers. The first two is/was masters in raising questions on us out of visual stillness, or visual succession, or visual twisting, framing... This are their abilities, they would produce films out of no logical, or at least interesting stories, but they would open our visual mind. If i refer them, is because i missed that subtlety here. The main actor as well wouldn't be enough to make the thing happen, without top class visual/mental manipulation. He is not untalented, but he probably was miscast. He cannot carry a character with as many characters on himself as this Ramirez. My opinion: 3/5 still worth it, despite the weaknesses.

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