Al final del túnel

My opinion-.

"At the end of the tunnel" is a movie by Rodrigo Grande and a thriller policeman realized with a small budget, but with far greater effects than some great productions, everything is there, a super scenario and a plot that takes you more and more That one advances in this movie. If you like good suspense, look at it, it is worth it.

Loved it. Unpredictable... story grasp you till the end.

But what was the point of bomb when it take few hammer hits to break through the vault?

I have never seen a heist movie with this kind of plot twists. This is unguessable as well as trickily executed. One most indulging factor is the protagonist is cripple yet how he protect himself along with the bank money is amazing.

At the End of the Tunnel proves that the most compelling heist films aren't always about the criminals pulling the job, but about the ordinary person caught in their crosshairs. This Argentine-Spanish thriller from director Rodrigo Grande transforms a simple premise into a gripping exercise in mounting tension, where every creak of the floorboards carries weight and every glance through a basement window feels loaded with danger.

Joaquín is a wheelchair-bound computer engineer threatened with foreclosure, haunted by memories of his wife and daughter who died in an accident years ago. Leonardo Sbaraglia inhabits this role with remarkable restraint, never playing for sympathy but instead crafting a fully realized character whose physical limitations become tactical advantages. His performance anchors the film's emotional core, particularly in his scenes with Spanish actress Clara Lago, who plays Berta, the exotic dancer renting a room in his crumbling house with her mysteriously silent daughter Betty.

The genius of Grande's direction lies in how he uses the confined space of Joaquín's basement workshop to create an atmosphere of voyeuristic dread. When Joaquín discovers that criminals are digging a tunnel under his house to rob the bank next door, the film shifts into thriller territory without abandoning its character-driven foundation. The camera work emphasizes the claustrophobic nature of Joaquín's world while simultaneously opening up moments of surprising intimacy between the unlikely housemates.

Pablo Echarri delivers a masterful performance as the villain, bringing a chilling matter-of-factness to his criminal mastermind that makes him far more unsettling than any scenery-chewing antagonist. The supporting cast, including veteran Federico Luppi as a corrupt police inspector, creates a lived-in world where everyone carries secrets and motivations run deeper than surface appearances suggest.

What elevates this film beyond standard thriller mechanics is its commitment to exploring themes of isolation, second chances, and the lengths people go to protect those they love. The revelation that Berta is connected to the criminal operation doesn't feel like a cheap plot twist but rather an organic development that deepens both characters' emotional stakes. The film earns its moments of violence and tension through careful character development, making every confrontation feel personal rather than perfunctory.

Grande demonstrates impressive control over pacing, allowing quiet character moments to breathe while ratcheting up suspense through sound design and strategic reveals. The basement setting becomes almost a character itself, with its maze of electronic equipment and hidden vantage points creating opportunities for both surveillance and surprise. The film's visual language emphasizes horizontal movement and hidden perspectives, reinforcing themes about seeing and being seen, knowing and being known.

While the film occasionally leans into familiar thriller territory, particularly in its final act, the strength of the performances and the genuine emotional investment in these characters keeps it compelling throughout. Grande's enjoyable caper film ratchets up tension even as it folds in smile-inducing plot twists. This isn't a film that revolutionizes the heist genre, but it executes its premise with enough intelligence and heart to make it genuinely engaging.

The film succeeds because it understands that the best thrillers aren't just about external dangers but internal transformations. Joaquín's journey from isolated recluse to reluctant hero feels earned, and the relationships he forms feel authentic rather than manufactured for plot convenience. In an era of increasingly elaborate heist films, "At the End of the Tunnel" reminds us that sometimes the most effective approach is simply to dig deeper into character and let tension build naturally from genuine human stakes.