Born in a poor neighborhood, Tony hides hides behind the image of a tough woman. She has a boyfriend, Juanjo, and two pals, a strange couple formed by Maxi, who is obsessed with martial ...
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Madrid, post-Spanish Civil War. Sisters Hortensia and Pepita are involved with an underground guerrilla movement. Hortensia is captured and forced to deliver her baby in jail. Pepita tries ... See full summary »
Follows the work of specialist police extradition units in the UK and across Europe who seek out those fleeing to other countries to escape justice so that they can be returned to face the consequences of their crimes.
Born in a poor neighborhood, Tony hides hides behind the image of a tough woman. She has a boyfriend, Juanjo, and two pals, a strange couple formed by Maxi, who is obsessed with martial arts, and moco, a terminal junkie. They all decide to hold up a Lottery Administration in Madrid. But Juanjo has another plan: he's going to betray his two friends and escape with Tony and the money. They start their runaway to the South with the excuse of taking Laura, Juanjo's seven year old niece, to see her father, a flamenco singer. But at the beginning of the trip, with Maxi, Moco and the police on their tail, Tony is betrayed by her boyfriend who disappears with the money, abandoning her and Laura in a dismal road side restaurant. With their pursuers close behind them, Tony and Laura are forced to keep running. In the course of their journey, the initial distrust between them will turn into a deep friendship.Written by
A feminist heist and chase piece made by unfamiliar Spaniards - sound dodgy.
FUGITIVES is actually a very lively piece kicking off with a brisk bank robbery after which the one girl in the gang finds herself on the run and stuck with an abandoned tot.They (of course) bond while being pursued by the couple of the gang left standing about when the getaway car drove off. The men are such yobos and the females so endearing that the whole thing comes together, despite a market over saturated in bloke bashing movies.
The Cadiz second meeting with the singer father, drunk at noon and struggling to come to terms with his responsibilities,is particularly remarkable, shaded and involving.
Film making is crisp and effective - the undercrancked car chase where the dust is brought up in sharp detail and the music is flamenco guitar or the child found laying down on the rail tracks with her dolly are just a couple of the telling sequences.
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