carancho
carancho is a gritty but melodramatic argentinian love story with a hollywood - ish air .
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carancho begins to accelerate with alarming speed - and doesn' t stop until the startling, bitterly ironic final frame .
producer martina gusmán stars with ricardo darín in carancho: ‘its atmosphere is as thick and rancid as something ejected by a garbage impactor.' photograph: rex features
“carancho” does many things correctly. the acting is relatively convincing, the cinematography is clear and the editing is in no way jarring. like any thoughtful film, protagonist lujan undergoes strenuous character development. yet to give “carancho” a good rating based on these credentials alone is like rewarding a student for doing their homework. completion is required and expected, but it is the quality of the work that warrants the grade .
atmospheric, stylish and appealingly bleak ,
carancho
suffers from a storyline that' s less impactful than it should be. it has all the pieces to be a great film, but they don' t quite come together .
the interesting thing about this film is that it wouldn’t work well for hollywood, either. despite cheap thrills, it also manages to be excruciatingly slow, which is admittedly somewhat impressive: the worst of both worlds, really. it does not examine issues in and of themselves. the basics are there, but for those attending the portland international film center to see out of the box, perspective changing, cinematically evolved film, “carancho” should be avoided. the film has so much potential. the original premise is strong and multiple themes arise. only minor mistakes are committed. but there are so many minor mistakes that “carancho” essentially fails to win admiration. superficial, slow and predictable, “carancho” is not worth the time nor the money. ?
for 95% of the film, carancho is a taut noir drama with interesting social criticism and well - rounded characters. then, for 5% it’s a complete mess that loses the reality the rest of the film is set in. this mixture is still worth watching, especially since without everything that came before it the end of the movie wouldn’t make a bad short on its own. but it hampers carancho enough that it’s hard not to reappraise the rest of the film in light of it—all those sutures that trapero and darín put into its plot seem to come right out and the clumsiness of the writing reasserts itself. so the movie’s recommendation has to come with a grain of salt, but most of carancho is still intelligent and thrilling enough that it’s work ignoring the end .
carancho opens with a series of black and white photos of a car crash – shattered glass, tangled metal, a lifeless arm – instantly setting the tone for this film. it’s a pacy, sharp - edged drama with elements of a thriller, focussing on the horrifying ubiquity of traffic accidents in modern day buenos aires (there are over 8000 deaths in argentina every year) and the lives of those people who are there to clean up – or in some cases, profit from – the mess. the film’s interesting premise is propped up by taut direction and excellent, powerful performances from its leads, but carancho is let down by an ending that smacks of a lazy hollywood thriller .
argentina’s roads are like any: busy, loud and dangerous. pablo trapero’s film “carancho” takes viewers into the lives of people who know just how dangerous the roads can be. meet lujan (martina gusman), a doctor who treats traffic accident patients, and sosa (ricardo darin), a malpracticing attorney who scams victims out of insurance money .
carancho (named after the vultures that chase ambulances and try to profit from the misfortunes of those caught in traffic accidents) is an argentinian noir thriller about such a ‘vulture’ and his tentative relationship with a drug - addicted paramedic. both characters are trying to escape their situations yet their worlds, full of violence and corruption, are prisons neither can free themselves from .
a hard hitting neo - noir with a message. ricardo darin is a carancho. which also translates to
vulture
or a counselor. someone who benefits off the misfortunes and tragedies of traffic accidents. he meets a young female doctor and their is instant attraction. however, his dark, shady lifestyle can' t seem to leave him behind and the men he works for won' t let him walk out so easily .
keeping carancho from true greatness, though, is an ending that’s as ham - fisted as anything that’s been filmed and manages to undercut pretty much everything that came before it. suddenly the picture becomes obnoxiously didactic and reduces its characters to just toys for its screenwriters. while the sequence is undeniably virtuosic from a technical standpoint, it’s a disaster in every other way. i’ve rarely seen a movie with an ending this bad in my entire life .
in carancho the hospital is overworked and the doctors are exhausted. not only are the lawyers and their clients corrupt, but of course so are the police officers and doctors (and it’s implicit that the actual insurance agencies are at least as bad). darín’s performance in particular helps the film out with its tone of dark realism, presenting a hero who’s interested in doing the right thing but left with a world so bleak that attempting to do so is virtually suicide .
carancho has been on my watchlist for years and what a disappointment. yesterday i watched on body and soul, a very different and ever - so - patiently characterised film and a romance of small gestures. seeing this the following day, a film in which the romance that is at the core of the story is so complicated it could be written - in full - on the back of a post - it note. this supremely shallow film made all the more flimsy by the context in which i watched it .
in the last twenty minutes the film hurtles – almost like a careening car, if we’re going to get deep here – towards a swift, dissatisfying conclusion. ultimately, trapero betrays his characters by removing their autonomy and transforming them into objects moved along by currents they can’t control. it may be a comment on the futility of attempting to live for yourself in a world which seeks to drag you down, but the ending to carancho feels less like a piece of social commentary than a sleekly filmed, somewhat empty final flourish designed to shock, in the vein of the most cynical hollywood blockbusters .
hopeloos vechten tegen de bierkaai, zo valt de ‘strijd’ van sosa en luján te beschrijven. zie maar eens te overleven in deze door en door verrotte maatschappij. ‘carancho’ blinkt over de gehele linie uit qua acteerprestaties met garin, die nog altijd geen gehoor wenst te geven aan de lokroep uit hollywood, en gusman als zeer overtuigende hoofdrolspelers. je zou de film kunnen zien als een ode aan de onlangs overleden zuid - amerikaanse schrijver gabriel garcia márquez: liefde in tijden van cholera. twee geliefden die zich hardnekkig aan elkaar vastklampen in de hoop op licht aan het einde van de tunnel. geen lichte kost, maar verplicht kijkvoer !
the titular vultures of carancho are the ambulance - chasing lawyers who fleece personal injuries victims out of their money. they also, we soon learn, set up many of those injuries themselves, and this problem is something of an epidemic in argentina—at least according to the films opening titles, which explain that the country has over 8, 000 traffic deaths a year. sosa (ricardo darín) has been working for a personal injury attorney ever since he lost his license, but he’s about to get it back and wants to return to practicing law ethically. before it comes to that, though, he meets luján, a doctor working as a paramedic, and the two fall in love. but sosa knows too much about this insurance fraud scam, and his old boss isn’t above attacking sosa wherever it hurts most to keep him from ratting on the operation .
the first plot twist is horrifyingly entertaining. the second plot twist is okay, too. but after the third, fourth and fifth major turns of the story, audiences are desensitized, annoyed and expectant. i knew exactly how the movie was going to end before i watched it, so chances are you will too. “carancho” is ruined by this desperate attempt to create interest in, ironically, what could have been an emotional and developed film. trapero can’t seem to get enough of cheap shock value. a seemingly complex addition soon becomes submerged by other incoming dramatic elements. for instance, (minor spoiler alert) it is revealed that lujan shoots heroin. trapero’s superficial attempt at revealing the troubled nature of lujan’s character adds absolutely nothing to the film. it does not progress the plot but merely makes a mockery of an otherwise emotional film as it raises such an important issue but gives it no attention .
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in argentina over 8, 000 people die in traffic accidents every year. behind each of these tragedies is a flourishing industry founded on insurance payouts and legal loopholes. sosa is a... see full summary »
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in argentina over 8, 000 people die in traffic accidents every year. behind each of these tragedies is a flourishing industry founded on insurance payouts and legal loopholes. sosa is a lawyer who tours the a & e; departments of the public hospitals and the police stations in search of potential clients. luján is a young doctor recently arrived from the provinces. their love story kicks off one night when luján and sosa meet in the street. she' s trying to save a man' s life; he wants him on his client portfolio .
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sosa (ricardo darín, the secret in their eyes) is an ambulance - chasing personal injury attorney with questionable ethics. lujan (martina gusman, lion' s den) is a young, idealistic country doctor new to the city. after lujan and sosa' s paths repeatedly cross, the two form an unlikely romance that is threatened by sosa' s turbulent past. with traffics accidents as the number one cause of death in argentina, bodies are currency and a black market strives to get rich from the personal tragedies that literally litter the streets. - - (c) strand
the argentinean actor ricardo darín (the secret in their eyes) has an almost bogart - like gift for playing world - weary rotters with a core of nobility .
this is a film that' s musical with the cracking of bones and crashing of cars .
a no - frills version of a perennial dark story: how love of a sort can take root in a festering place .
a stark, compelling crime drama, shot in lurid close - ups and leading inexorably toward a devastating end .
[ ricardo ] darín' s performance is sleek and truly moving. [ full review in spanish ]
trapero is a force, as both a director and a producer, in argentina' s exploding though financially strapped film industry .
the film' s plotting is at times ragged and muffled, though this might be intentional, a way of suggesting the endless ramifications of the endemic corruption. the performances, however, have depth and resonance .
what starts as a slow - burning series of minor dramas slips into a high - octane gear in the final act .
the statistic that 8, 000 argentinians die in traffic accidents every year gives his film a context, but trapero didn' t need to work quite so hard to prove it .
a spectacular thriller, gripping, visceral and directed with an intense realism by trapero, who uses a handheld camera and long takes to simulate a documentary style and keep the audience incredibly tense - and the last scene is fulminating, almost driving the viewers to a heart attack .
perhaps the fall - spring relationship doesn' t quite work but carrancho is an interesting character sketch of a horrid character. how far will he go to profit at his trade ?
very well done. interesting storyline. rather gritty, which always attracks me. i have to say... ricardo darin is becoming one of my top favorite spanish actors. just about everything i have seen him in i have liked .
low - key is far from trapero' s esthetic, of course, and as co - editor he injects the film with the pummeling rhythm of a heavy metal session. punishing for some, it could be just the cup of tea for the young male demographic .
added value comes from leading star ricardo darin - - whose
the secret in their eyes
won this year' s foreign - language oscar - - as a legal vulture who wants to get out of the business after he meets straight arrow martina gusman (the film' s executive producer) in the role of an er medic. it' s a nice, modern twist on the flatfoot who falls for the blonde of yore, and trapero' s muscular filmmaking keeps the love story fast and fresh .
it' s the film' s dark violence, however, that will either sell tickets or turn viewers away, and those who enjoyed the morbid atmosphere of david cronenberg' s
crash
should take a look. the film opens with a beautifully edited, stop - motion sequence of a car accident and the information that 8, 000 argentines die on the road each year. they don' t all have decent accident insurance, and that is where hector sosa (darin) comes in. his craggy face, made even tougher wearing a crew cut, reacts to police radio reports of a crash and he speeds off in pursuit to help the survivors land their claims with their insurance companies .
the
foundation
he works for is charitable only to themselves, appropriating the lion' s share of the claims they handle. the dark, seedy office is right out of the 1940s, like the hard - nosed bruisers who run the joint. it would be interesting to count the number of times sosa gets brutally beaten up in the film, afterwards pretending nothing happened as he wipes the blood from his face .
complications arise when he meets lujan (gusman), an innocent - looking young doctor who works the night shift on ambulance duty. she brushes him off but he won' t take no for an answer. their relationship is earthy and real, grounding the violent story in believable human emotions .
crash after crash, cpr after iv, the victims of road accidents keep pouring into the run - down hospital where lujan works, littered with garbage and smeared with blood. she keeps herself on an even keel shooting up in the bathroom; when sosa finds out she' s a junkie, he takes it in stride. his heart of gold makes him want to help some of the accident victims, while earning a little money on the side. this leads to a conflict of interest with his employers and to a dramatically over - the - top finale that goes too far to be satisfying .
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in argentina, more than eight thousand people die every year in road accidents. behind every tragedy there is an industry, supported by the compensations of insurance companies and the weakness of the law. sosa, is a lawyer who moves through emergency rooms of public hospitals and police stations in search of potential customers. luján, is a young doctor from the province. this love story begins the night luján and sosa meet on the street. she' s trying to save a man' s life; he' s trying to turn him into his customer .
in argentina, more than eight thousand people die every year in road accidents. behind every tragedy there is an industry, supported by the compensati ...
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in argentina over 8, 000 people die in traffic accidents every year. behind each of these tragedies is a flourishing industry founded on insurance payouts and legal loopholes. sosa is a lawyer who tours the a & e departments of the public hospitals and the police stations in search of potential clients. luján is a young doctor recently arrived from the provinces. their love story kicks off one night when luján and sosa meet in the street. she' s trying to save a man' s life; he wants him on his client portfolio .
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here are 8, 000 deaths and 120, 000 people injured on argentinian roads every year. the statistics are worse, i' m told, in some other countries and insurance companies are being shaken down all round the world. but apparently in deeply corrupt and unjust argentina a sizable industry has grown up to exploit these accidents, involving the victims, relatives of the dead and maimed, lawyers, the medical profession and the police. this is the background to the latest movie by pablo trapero, one of the leaders in the recent resurgence of latin american cinema .
in a beautifully staged sequence, sosa and luján meet in the sodium - vapour lighting that illuminates the lurid night streets of buenos aires. as she gets him to help with her latest patient, she has trouble identifying his role. is he, as his battered, bleeding face suggests, another victim? or is he, as his professional confidence implies, some kind of official ?
punishment of a physical and mental kind is never far away in a trapero movie. as it' s unavoidable, the test is whether you can find the stoicism and grace to confront and overcome it. his film is claustrophobic, largely set at night and in life' s darker corners, and the atmosphere is as thick and rancid as something ejected by a garbage impactor. the film' s plotting is at times ragged and muffled, though this might be intentional, a way of suggesting the endless ramifications of the endemic corruption. the performances, however, have depth and resonance .
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sosa works for
the foundation ,
a law firm specializing in compensation claims for the victims of car accidents. his firm collects the bulk of the premiums and pays out crumbs to the victims, who are carefully kept in ignorance of their rights. at the scene of an accident he' s just orchestrated so that a client can receive compensation, sosa meets lujan, a young female doctor exhausted by inhuman working conditions. their romance inspires him to return to an honest law practice. when a customer is killed in another
false accident ,
sosa pays all the compensation money to the widow, rather than to his boss, thereby earning the wrath of the latter. following a bus accident, sosa informs the relatives of the victims of their rights, putting himself and lujan in danger .
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director: pablo trapero writers: alejandro fadel, martin mauregui, santiago mitre, pablo trapero cinematographer: julián apezteguia starring: ricardo darín, martina gusman, carlos weber, josé luis arias studio / runtime: strand releasing / 107 min .
it’s a noir - ish plot and director pablo trapero makes the most of it, drawing out great performances and coupling them with beautiful camerwork. some of the actual writing for the film is clumsy, and dialogue can be painfully expository at times, but trapero’s tight control of the camera manages to play these problems off and soon enough the characters and their increasingly impossible predicaments are driving the story on their own. while many of the film’s foundations will be familiar to any fans of crime television shows, the craft at work here is strong enough to make overlooking these shortcomings easy .
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argentina’s pablo trapero makes terrific, texturally rich films which tell us all sorts of things about what life in his country is like. compared with el bonaerense (about buenos aires’s notoriously corrupt police force) and the women’s - prison drama lion’s den, his latest is more pungently melodramatic, which isn’t wholly what the doctor ordered .
the love story between ricardo darín’s ambulance - chasing lawyer and martina gusman’s young medic, well - played by both, nonetheless has a hollywood - ish air that sits oddly with the gritty plot. we’re headed, by the end, for a literal pile - up: the statistic that 8, 000 argentinians die in traffic accidents every year gives his film a context, but trapero didn’t need to work quite so hard to prove it .
in pictures - the story of love and romance: from adam and eve to tinder and chemsex. compiled by martin chilton
at first, the couple, whose affair begins instantaneously, seems mismatched. through the course of the film, however, viewers learn that appearances can be deceiving. as sosa’s dreams of a “peaceful” job and lujan’s self - destruction unravel, the two become inseparable .
the unconventional casting is a minor annoyance. gusman, who looks like she just graduated high school, is far too young to play a convincing doctor. as such, darin embodies a creep more than sweet lover, making scenes of affection unbearable to watch—not to mention that the sex scene is unnecessarily long and quite frankly, disgusting (no offense, darin). the fact that sosa is three times lujan’s age is never an issue in the film. trapero should keep in mind that literary and cinematic classics, “lolita” being a good example in this case, revolve around one issue and all of its complexity instead of skimming a lot of them. a mature and contemplative audience yearns to delve deeper .
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trapero’s direction is skilful in depicting the world in which luján and sosa must struggle to survive. luján’s hospital and sosa’s cramped office are dingy and worn out – much like the protagonists themselves – and the ever - lingering soundtrack of nearby traffic serves to remind the characters and audience alike that always, just on the periphery, some terrible disaster is about to take place. particularly convincing are the scenes taking place in the hospital, which luján and the other doctors navigate with an air of unshockable weariness. a consummate professional with her patients, luján has nonetheless become desensitised to the pain and suffering she bears witness to every day. indeed, it appears the only two things that can stir some real feeling in her are the drugs to which she is addicted, and the romantic affections of father figure sosa .
having established, however, an interesting premise and well - rounded, intriguing characters, trapero seems to lose his grip on what he is trying to achieve half way through his film. when luján discovers what sosa has been doing, she breaks contact with him. there is then a somewhat clunky jump forward in time and sosa returns to luján, having shaved his head and attempting to set his life back on track by legitimately helping the victims of accidents. the story then follows the two becoming embroiled in a feud with sosa’s ex bosses, requiring both to act in increasingly unrealistic ways in order to push forward the plot .
this love story begins the night lujan and sosa meet, on the street. she is fighting to save a car accident victim' s life. he wants the victim to be his client. together they will try to change the co... more
this love story begins the night lujan and sosa meet, on the street. she is fighting to save a car accident victim' s life. he wants the victim to be his client. together they will try to change the course of their lives, but sosa' s turbulent past will come up against them .
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an ambulance - chasing lawyer specialises in persuading the victims of road accidents to make use of his shady services, while a dedicated doctor works tirelessly to save lives. brought together when the attorney tries to persuade the medic' s patient to hire him, they fall in love and try to change the course of their lives. romantic drama, starring ricardo darin and martina gusman. in spanish .
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the shady past of an ambulance - chasing lawyer (ricardo darín) threatens his unlikely romance with an idealistic doctor (martina gusman) .
in argentina over 8, 000 people die in traffic accidents every year. behind each of these tragedies is a flourishing industry founded on insurance payouts and legal loopholes. sosa is a lawyer who tours the a & e departments of the public hospitals and the police stations in search of potential clients. luján is a young doctor recently arrived from the provinces. their love story kicks off one night when luján and sosa meet in the street. she' s trying to save a man' s life; he wants him on his client portfolio
the film is shrouded in a perpetual darkness with both characters existing solely for the nighttime (one attempting to save lives and one trying to profit from them) which gives the film a strong visual identity. the world is grimy and harsh, hardly the environment for love to flourish. yet, the characters do attempt to hold on to their…
this movie packs a punch. the second act lacked a tiny bit of go forward, but you realise that, by the amazingly powerful 3rd act - it was just setting us up for the punch. and it was a knockout blow .
i' ve never seen ricardo darin star in a bad movie. i' m sure there are some, but they' re not on my radar. this isn' t considered pablo trapero' s best movie by a long shot, so i' m now on the lookout for more. 8 / 10
it feels like the only argentinian films to get distributed in the us have to star ricardo darin. there is a genuine absurdity to is since he' s really only an average quality actor. thank goodness though he shares a lot of the story' s time with martina gusman. there' s a really dark and disgusting sequence about forty minutes in that i would have never guessed the film was going to that will probably lose a lot of audience members, but i thought really helped lift this above trapero' s white elephant. with this scene, fortunately, also comes a switch in point of view from darin' s vulture to gusman' s ambulance driver. not only is gusman a better actor then darin, but her character…
entertaining and at the same time disturbing look at the road accident / insurance corruption business in buenos aires .
let me say that i' m writing this based on an assumption that this film has been well researched and is based on how things are in buenos aires. and if that is the case this then watching this has been a real eye opener .
i' ve had heard of' ambulance chasers' who scoured hospital waiting rooms looking for punters. i seen the cards of insurance company' s myself on the coffee machines when i' ve been waiting in out patients at the local hospital .
this film is a mix of bringing out the dead and better call saul. i had no idea that there was a whole industry of ambulance chaser in argentina. this is a bleak film. it almost feel apocalyptic .
i love ricardo darin and love exploring his filmography. this one isn' t as fascinating as the others. despite its fantastic cinematography, capturing the dark streets of argentina. michael mann would be proud. pablo trapero perfectly incapsulates this midnight madness and the horrors doctors and hospital staff go…
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carancho is a 2010 argentine crime film directed by pablo trapero and starring ricardo darín and martina gusmán . it was entered into the un certain regard section of the 2010 cannes film festival . the film was selected as the argentine entry for the best foreign language film at the 83rd academy awards , but it did not make the final shortlist . 
carancho is a 2010 argentine crime film directed by pablo trapero and starring ricardo darín and martina gusmán. it was entered into the un certain regard section of the 2010 cannes film festival. the film was selected as the argentine entry for the best foreign language film at the 83rd academy awards, but it did not make the final shortlist.
carancho is a 2010 argentine crime film directed by pablo trapero and starring ricardo darín and martina gusmán. it was entered into the un certain regard section of the 2010 cannes film festival. the film was selected as the argentine entry for the best foreign language film at the 83rd academy awards, but it did not make the final shortlist.