Carancho is the story of two birds of nights lost in the cruel darkness of Buenos Aires. Lujan (Martina Gusman ) is an emergency, it combines the hours because I must and drugs to cope, his face ringed with brown rings. It hurts to see a smile despite just waiting to be assertive. Sosa (the now famous Ricardo Darin 'In his eyes ') is a lawyer specializing in traffic accidents in the middle is nicknamed the Raptor (el Carancho) because he extorts the victims away on behalf of a corporation, insurance money. Sosa was still blood on his face because he was regularly beaten by her employers. On the scene of a traffic accident, where life-saving mechanical actions carried out in haste, these two people out to meet and fall in love. He's shifty eyes, the scars of its edges.
director Pablo Trapero here a dark book of rare density. Relentlessly, he continues, the price of a countless number of shots nervous sequences, close-ups capturing the terror Taming of its performers and staged ultra realistic, its two protagonists whose sole desire is to s' escape from a stifling and gloomy day in which they have been caught. The fever that seized the film and gives him a photographic unit impressive sights set on the noir but the urgency of love that, thanks to the inspired interpretation of the two protagonists, more beads on the screen transforming the subject into dramatic romance. As they live the night life in the fast time when we are sinking substances to take and where you spit blood regularly because all actions have consequences (just as in A breakneck of Scorsese who also addressed the world of emergencies), even small ones, and Lujan Sosa will find a glimmer of hope in the outline of a relationship they do not even the strength to truly begin. They embrace it barely already exhausted sleep in a dawn licking blinds.
Argentina, the ponderous and corrupt administration, take again to their rank. The director acknowledges here with virulence profiteers of human misery, those who sustain it on the tarmac ruddy victims but also the circular wheel of a civilization that hoarse in the garbage, like when Lujan prides himself in haste foot behind the door of a toilet infamous hospital. Everything is related effects ... there is really no way out once you put one foot in the gears. Lujan Sosa and will therefore find it difficult to cope. The film loses some of its energy forcefully and repeatedly violent obviously a fucking life ahead, turn the camera to see through the maze of a hospital stay and unhealthy, dirty puddles of blood, no more surprising, it is expected that the fall takes its time to emerge as a front truck at full speed.
Although Carancho sometimes resembles, by its context, all these series are American hospital corridors to central arteries of their screenplay, the conduct of its temporality nyctalopic is a genuine blackness as a direct result of a realization that stretched to the limit at any time become the prey of prey ready to perish in the greenhouses of exhaustion. In some visual violence, Carancho surrenders in a final where the snake eats its tail, quite simply ... a lot more than just his prologue that drowned tracks for attention. In fact it was hardly necessary as the staging alone provoked interest in its beautiful faces tired and sentenced to the hysteria of insomnia infinite.
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