Juan Jose Moreno Cuenca, alias the Heifer, is 23 years old and tells his story as a criminal offender from 1 Ocaña Toledo. Fatherless, the offender has his childhood and how everything changed when her mother went to prison.
José Antonio de la Loma Jr.,
José Antonio de la Loma
Raúl García Losada,
Carmen de Lirio
The monotony causes a distancing between Begoña and Pedro, married for years and with a teenage son who only wants to play basketball. In addition, the father of Begoña (elderly and ... See full summary »
José Antonio Nieves Conde
José Luis López Vázquez,
Three independent stories that reflect some of the many faces of love. Elvira and Alfonso have been engaged for ten years in courtship, during which they have kept their chastity zealously,... See full summary »
Julia Gutiérrez Caba,
Mallorcan society does not regard George Sand's adulterous relationship with musician Frédéric Chopin, six years younger than the writer and seriously ill with tuberculosis. So, when they ... See full summary »
After serving their sentence, three prisoners, a doctor, a civil servant and a thief, leave jail. During the train trip they do together to return home, they analyze their respective lives.... See full summary »
José Antonio Nieves Conde
José Marco Davó
In the post Spanish civil war years, Catalan kids would sit in circles among the ruins and tell stories, known as "aventis" (the film's original title in Catalan, its original language). ... See full summary »
The stay in the prison of Eudosio and Carlos, accused unjustly, prevents them from getting a job when they go free. As much as they intend to explain that they were locked up for no reason,... See full summary »
Joaquín Luis Romero Marchent
It is summertime in a blue-collar, marginal district of a city in the South of Spain. Tano, a teenager currently serving a sentence in a juvenile reform center, is given a 48-hour leave to ... See full summary »
Juan José Ballesta,
Dr. Foster (Stevens) returns to Spain for the first time since serving as a doctor for the Loyalists in the Spanish Civil War three decades earlier. He meets the daughter (Vargas) of an old... See full summary »
Mediocre ¨Quinqui¨ film about hold-ups , survival and police corruption , including shocking finale
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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