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Museo (2018)

1:39 | Trailer
In 1985, a group of criminals mock the security of the National Museum of Anthropology in Mexico City to extract 140 pre-Hispanic pieces from their showcases.


Alonso Ruizpalacios (as Alonso Ruiz Palacios), Alonso Ruizpalacios


Manuel Alcalá, Alonso Ruizpalacios (as Alonso Ruiz Palacios)
7 wins & 24 nominations. See more awards »



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Credited cast:
Gael García Bernal ... Juan Nuñez
Simon Russell Beale ... Frank Graves
Lynn Gilmartin ... Gemma
Bernardo Velasco ... Bosco
Lisa Owen ... Sra. Nuñez
Alfredo Castro ... Dr. Nuñez
Ilse Salas ... Silvia
Leticia Brédice ... Sherezada
Leonardo Ortizgris ... Benjamin Wilson
Camila Robertson Glennie Camila Robertson Glennie ... Girl
Pablo Chemor Pablo Chemor ... Himself
Rodrigo Alcántara Rodrigo Alcántara ... Bouncer
Maite Suarez Diez Maite Suarez Diez ... Jimena


Two veterinary school drop-outs find that they are in way over-their-heads when they commit Mexico's most improbable heist -- the looting of its sacred Anthropology Museum - but the invaluable treasure quickly turns into an inescapable and ruinous curse that is impossible to fence.

Plot Summary | Add Synopsis

Plot Keywords:

heist | 1980s | mexico | road movie | actor | See All (6) »


Crime | Drama


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Parents Guide:

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Spanish | English

Release Date:

26 October 2018 (Mexico) See more »

Also Known As:

Museo See more »

Filming Locations:

Mexico See more »


Box Office

Opening Weekend USA:

$16,554, 16 September 2018

Gross USA:


Cumulative Worldwide Gross:

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Company Credits

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Technical Specs




Aspect Ratio:

2.35 : 1
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Did You Know?


The movie is a fictionalized account of what was called "The Heist of the Century", with the obvious changes. In reality, it was performed by two veterinary school students, actual names Carlos Perches and Ramon Sardina. The movie portrays the events of the actual robbery quite accurately, including museum guards being careless due to a Christmas celebration, the amount and type stolen pieces, the method of escape, as well as the first suspicion of the heist being done by professionals working for international art dealers and the 50 million pesos reward offered by the museum. Later, the film comprises time periods and combines several characters into a single one. In reality, the thieves managed to avoid capture for four years: Perches and Sardina went to Acapulco, when they tried to sell the pieces to drug lord Jose Serrano and his mistress, a popular cabaret dancer nicknamed "Princesa Yamal". Serrano introduced them to Salvador Gutierrez a.k.a. "El Cabo", another drug lord, who promised to sell the artifacts and estimated a price tag of one billion dollars. Two of the pieces were given to Serrano in exchange for cocaine by Perches, while Sardina apparently gave him seven as evidence they were the actual robbers. The police, in the meanwhile, had lost track of the pieces and closed the file, in part by the fact of the Museum not having a complete inventory of the stolen artifacts until much later, with the first reports showing wrong or incomplete records. Finally, in January 1989, the Mexican Federal Police arrested "El Cabo", who gave them all the leads to find the robbers. Perches was arrested in April at his house, along with his brother and the rest of the stolen artifacts. Five more people were arrested, including Serrano's mistress, an Argentinean showgirl called Cristina Gonzalez -both later released- and an American named Nathan Clevenger, the apparent buyer. In total, 111 of 124 pieces were recovered and returned to the museum. However, the whereabouts of Ramon Sardina and the nine pieces he and Perches gave away is still unknown. See more »

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User Reviews

A deep dive into a slice of Mexican society and culture
17 September 2018 | by jkeenSee all my reviews

Museo (screenplay by Manuel Alcalá and Alonso Ruizpalacios; direction by Ruizpalacios) is the most cinematically stimulating movie I have seen so far this year. The film dramatizes an actual 1985 theft at the National Museum of Anthropology in Mexico City but then shifts to focus on the emotional impact of the theft on the two perpetrators. About ten minutes into the film I found myself thinking, "They don't make movies like this anymore." Why did I feel that way? Both the subject matter -- the anomie of the middle-class in a nation with profound social divisions -- and Ruizpalacios's wide-screen composition recall Fellini and Antonioni films of sixty years ago. So do the dramatic Saul Bass-like titles, the symphonic score and sound design. Seek this movie out!

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