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El Bonaerense (2003)
Tomatometer
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Reviews Counted:11
Fresh:10
Rotten:1
Average Rating:6.7/10
Theatrical Release:Nov 26, 2003 Limited
Synopsis: Zapa (Jorge Román) is a small town locksmith who is arrested for his involvement in a safecracking job arranged by his boss, Polaco (Hugo Anganuzzi). Luckily for Zapa, his Uncle Ismael (Roberto... Zapa (Jorge Román) is a small town locksmith who is arrested for his involvement in a safecracking job arranged by his boss, Polaco (Hugo Anganuzzi). Luckily for Zapa, his Uncle Ismael (Roberto Posse), a local police chief, calls in some favors and gets him off the hook for his crime. Uncle Ismael also lands Zapa a job in the Buenos Aires police force, where he quickly learns that corruption is the norm. While completing the grueling training program, he is befriended by hotshot Assistant Deputy Inspector Gallo (Dario Levy) who has big plans for the young, naïve trainee. Zapa also begins a steamy relationship with his training instructor, Mabel (Mimí Arduh), an honest cop in a world of rotten ones. Resigned to the corruption that is so prevalent among his colleagues, Zapa is soon drawn into that world as well, collecting kickbacks from whorehouses and other businesses, harassing unarmed suspects, and drinking on the job. Written, produced and directed by Pablo Trapero (MUNDO GRUA aka CRANE WORLD), a native of Argentina, this gritty film combines strong dramatic performances with tough political messages. [More]
Starring: Jorge Ramon, Dario Levy, Mimi Arduh, Hugo Anganuzzi
Starring: Jorge Ramon, Dario Levy, Mimi Arduh, Hugo Anganuzzi, Graciana Chirconi, Victor Hugo, Roberto Posse
Director: Pablo Trapero
Director: Pablo Trapero
Screenwriter: Pablo Trapero
Studio: Menemsha
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Reviews for El Bonaerense
Low budget and technically polished, El Bonaerense is a calm, simmering satire of a police force that is a power all to itself.
Credit El Bonaerense with journalistic single-mindedness and, given recent Argentine history, sheer guts.
Brimming with wry humor, softened by the filmmaker's Renoir-like love of his protagonist, El Bonaerense is a masterful illustration of vitiation, the sort that simple men like Zapa are heir to.
Director Trapero drives home his message -- the thin line between crooks and cops -- without hitting viewers over the head or seeming to point fingers.
Trapero again proves himself a master of mood, evoking the gritty, workaday world of contemporary Argentina that helped establish him as one of the most important young directors of the new Argentine cinema.
The vapor traces of farce and policier that waft from this terribly earnest film never coalesce.
Stunningly shot in earthy graininess, Trapero's film feels so real it's hard to remember this is fiction.
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|---|---|---|
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