Carancho (2010)

Insurance scandal in Argentina | 107 minutes

Movie Info


Blood is everywhere. Vultures take shelter beneath the disorder

Argentinian filmmaker Pablo Trapero marks his resurgence of naturalistic, nourish drama revolves around road accidents and insurance scam. A profuse plot describes the life in his country, illuminated by flares of violence, the stenches of desperateness and moral destitution. The claustrophobic thriller bolstered by a sturdy performance by Ricardo Darín that brings emotional nuance at its best. A touch of romance and undoubtedly a pretty naïve Martina Gusmán as his lady love.

The film is a cautionary tale, introduces the stats of more than eight thousand Argentinians per year lose their life and 120,000 people injured on Argentinian roads every year gives the context of an unjust society that exploits these accidents with the nexus between the lawyers, the police force, the insurance agents and the medical profession of their very wickedly pungent nature. The milieu can be similar anywhere else in the world posturing a murkier side that works on an organized crime are seamier than one can imagine.

The film storms with a chock-full punch street blow followed by the appalling business of ambulance-chasing lawyers on the streets of Buenos Aires. What we less realise the social realism could tear around at such hurried swift, range across Argentina over the painful decade. It’s a delight to see Ricardo Darin from the outstanding ‘The Secret in Their Eyes,’ from the word go as a furrowed ambulance chasing legalite and his encounter with the paramedic shift doctor Martina Gusmán unveils the story to the immense bout of insecurity, an intrigue of spectacle and redemption.

Pablo Trapero clearly in grip of this thriller which agonize to see corruption distract the trifles for greed and the perpetual round of desperateness in the working class is well captured. Being tagged and remind you of Costa Gavras reflective ‘Z’ and yes some of the conspiracy thrillers that Hollywood turned out in its 1970s golden age. A contemplate Alan Pakula and Francis Ford Coppola, ‘The Parallax View’ and ‘The Conversation’, fouled and tainted heroes, and an abiding sense of a system so hindered in sleaze- Trapero’s plotting can seem slightly unwavering and quite as slick as its necessary to be. The actual context for a film where the question of how far someone can be abandoned or do not stand a chance and the extent of narrative deceit is openly poignant, uneasy and tense moral challenge source of an intense politic thriller that fascinates and touches the viewer.

The movies initial hurtling mishaps but with very different agendas, through a violent fight and that’s when we meet Sosa(Darin) a suspended legalite. The next scene follows the traffic accidents and the ambulance. Sosa, slaying like a predator follows the ambulance at the spot and meets Lujan, who relinquishes the emergency case to the hospital. Heightened, much like said, the relentless visual representation of accidents and disturbing outlook, keeping the viewers on the edge.

Sosa’s intention does not clearly blow out at first, who offers accident victims and their families a shoulder to cry on and a pen with which to sign on the dotted line, in a mean that he helps claim their compensation and forth a margin of cut from his employer along the way. The inevitable trails the start of a breezy affair of Sosa with Lujan with trouble of their own. Sosa goes on to stage an accident so a friend can entitle the insurance thus the movie stifles into darker design of insurance scams out of indemnity and pay-outs.

the story upsurge the discernment of Lujan is depraved not only by a revealed drug habit but by her return to the increasingly tainted Sosa. The proceedings quickly spin out of control when he stabs the dishonest underwriter over the fight that toes his serious intentions of helping the poor victim leading to forceful assaults and vengeance. The aides-mémoires of a slow forward motion strides a chase into the sudden impact is unexpected and along the single take.

Carancho has its sparkles and nuanced moments. The circumstantial undercurrents are beautifully captured, given the characters make it credibly concern of their lives they live in without disgust is an unfamiliar charm inwards of their chaos. The depictions and tint are layered very symbolic. The subtle love and the shrugs between Sosa and Luzan are profound depth than the grandiose we expect of how the relationship of a sort can take root despite the putrefying habitat in the crooked road. Truly a commendable performance.

The propelling, tenacious, Pacey thriller that could easily break out from the element of arthouse to an inner breadth of human trait and weariness. The use of hand-camera, gives you a stressful feel and very precarious. Trapero’s measure of the night scenes, the music of sight and the dark panoramic view on the urban road, brown winding through the lanes like strips make the space as much to the death roads that doesn’t halt in its tracks forms the neorealist aesthetics to a finer dimension. Disquieting of how the movie defies the chatters of borough and lift us to a uniquely different place. Thumbs up 🙂

Film Crew

  • Directed by Pablo Trapero
  • Produced by Pablo Trapero
  • Executive Producer Martina Gusmán
  • Written by Alejandro Fadel; Martín Mauregui; Santiago Mitre and Pablo Trapero
  • Cast: Ricardo Darin and Martina Gusmán
  • Camera by Julián Apezteguia
  • Edited by Ezequiel Borovinsky and Pablo Trapero
  • Distributed by Buena Vista International
  • Released on 6 May 2010
  • Run time of 107 minutes
  • Country: Argentina
  • Language: Spanish

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Insurance scandal in Argentina

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