The Puccio are apparently a family like any other: Archimedes, the father has a plan in hand, for which he needs the help of his family. He gathers his children to help him carry out the ... See full summary »
Antonio Decoud is a conservative family man who is forced by destiny to face an unexpected situation that shakes him to the core, scrambling up his life and his priorities, pushing him to ... See full summary »
Miguel (Juan Minujin), a former Argentinian cop, is sent by a judge to get into a prison in order to find the kidnapper of his daughter as a result of a favor. Once in there, he changes his... See full summary »
A couple of friends work for a taxi driver to rob his passengers, but they feel like they're getting ripped off. They decide to plan their own robberies, but they are amateurs and things ... See full summary »
Dolores Dreier, lives the life of a young student until her best friend is brutally murdered. Two years later, she is the only one accused of the crime in a case of great media exposure ... See full summary »
Carlitos is a seventeen-year-old youth with movie star swagger, blond curls and a baby face. As a young boy, he coveted other people's things, but it wasn't until his early adolescence that his true calling--to be a thief--manifested itself. When he meets Ramon at his new school, Carlitos is immediately drawn to him and starts showing off to get his attention. Together they will embark on a journey of discoveries, love and crime. Killing is just a random offshoot of the violence, which continues to escalate until Carlitos is finally apprehended. Because of his angelic appearance, the press dubs Carlitos "The Angel of Death." Showered with attention because of his beauty, he becomes an overnight celebrity. Altogether, he is believed to have committed over forty thefts and eleven homicides. Today, after more than forty-six years in jail, Carlos Robledo Puch is the longest- serving prisoner in the history of Argentina.Written by
According to Lorenzo Ferro, he was the first person to audition for the role of Carlitos out of thousands other actors. See more »
Almost at the end of the film, Carlitos payed at the kiosko a bunch of cigarettes and some sweets with a 10 Argentinian pesos bill, but that currency didn't appear until the 90s. See more »
Are people crazy? Does anybody consider the chance to be free? Going wherever you want; however you want. We all have a destiny. I am a natural-born thief. I don't believe in "this is yours, and this is mine".
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Himno Nacional Argentino
Written by Vicente López y Planes (lyrics) and Blas Parera (music) See more »
Almost a masterpiece
"People are crazy" is the first thing we heard from Carlitos at the start of "El Ángel". He too. His is an ordinary madness ("natural born chorro") but when he crosses with Ramón and his family will begin a story of love, dementia and death that has as a backdrop the dictatorship of Lanusse (1971). Moving like a fish in the water within the coordinates of the commercial cinema, Luis Ortega composes a fascinating film, a huge poetry (which at times borders the surrealism of Buñuel or Favio) and an impeccable actor´s direction. Two hours full of anthological scenes, lines of dialogue to remember, motorcycles, girls, weapons, vinyls, motels and cigarette smoke. The blood is few because the shots go through the daring lines of dialogue between the characters. Everything that in "History of a Clan" was lynchean perversion and obscurity becomes pop insanity here, mounted on a musical cavalcade that astutely emphasizes every moment and includes La Joven Guardia, Pappo's Blues, Manal, Gigliola Cinquetti, Leonardo Favio, Piazzolla, variations on Charlie Parker, Johnny Tedesco and -of course- King Palito Ortega (father of the director) in two very moving moments of the plot. Lorenzo Ferro debuts before the camera without any previous experience in the performance. He has the face, the gesture and the intensity of a cinematographic animal and holds the entire film with his adolescent androgyny. Chino Darin once more demonstrates that - well managed - he can become a Pasolinian subject. In addition to his sexual magnetism a la Brando, he has a special aura to compose tragic roles. The Fanego / Morán duo is irresistibly morbid. And near the end comes a wonderful Peter Lanzani, close to the Denis Hopper of "Easy Rider" in argento mode or John Voight´s midnight cowboy walking on the streets of Buenos Aires. The photo and color correction of the duo Apezteguía / Russo moves between blood red and a stifling cyanotic. The reconstruction of the era is splendid. The film has everything to become the Panzer tank of the Argentine industry. But at the same time it's an instant classic. Chapeau Ortega.
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