Crónicas

"Crónicas" is an updated, Latinization of Billy Wilder's cynical 1951 film "Ace in the Hole (The Big Carnival)," where a tabloid reporter selfishly manipulated an emotional story of a trapped miner.

Where films like "Medium Cool" and "The China Syndrome" showed reporters as heroes getting radicalized by the stories they are covering, writer/director Sebastián Cordero effectively creates a hot, grimy, gritty environment for an ethically-challenged tabloid TV reporter who gets too mired in a serial murder investigation in the slums of Equador that recalls the hysteria and circus around the Atlanta child killings.

The irony of the power of today's ubiquitous media is shown to searing effect, including the power to manipulate it for personal purposes by all sides. The cat and mouse negotiations between the reporter and a questionable source (the enthralling Damián Alcázar) are as tense as those in "The Silence of the Lambs," and in an ugly environs that we can practically smell through the screen.

John Leguizamo is completely believable as a swaggering, self-promoting celebrity TV reporter for a popular show covering scandals across the southern hemisphere, flitting from his Miami base to drug lord hostages in Columbia to salacious murders, in and out of English. We are alternately sympathetic to his efforts and his bouts of conscience, then repelled by him.

He is flanked by somewhat stereotypes of a lanky, battle-hardened cameraman who eagerly focuses on close-ups of violence and gore and an ambitious woman producer who plunges into research and infidelity with equal verve, who utilize the most shiny, high tech communications gear to capitalize on their tunneling through the muck of human nature, though even they finally reach their ethical boundaries.

The focus is kept tightly on the reporter's responsibilities, as the producer comments ruefully: "We got the only honest cop in Latin America." The script and the camera certainly play with us, in edits of slowly revealed information that change our impressions of the facts, and as the reporter tensely tries to both get a scoop and do as much of the right thing as his ambitions allow.

As an intelligent thriller, this film certainly puts a brutal spin on the issue of a reporter protecting his sources, even as the worst of the implications happens off camera.

The background song selections fit the mood, though I have some feeling that the Spanish lyrics had significance.

The English subtitles had some errors.

In case you are not familiar, Sebastian's first big movie was Ratas, Ratones y Rateros. That was a great movie, it showed a side of Ecuador that hadn't been explores or showed before. He had the magic of showing a probably not unique story in a unique way, a Latin and Ecuadorian way.

In Cronicas, he does this and more. First, it shows a reality that may even be unknown for some Ecuadorian. It escapes from big cities and nice stories towards the forgotten towns that are only remembered for unethical journalism or plain mockery. Second, now it is not just a story showing themes particular to a Latin audience but applicable and important for viewers anywhere: masks and the true self, the blurry gray region between good and bad, the relevance of regret... and more.

One friend told me, before watching the movie: You will not see TV the same way again. In many ways it is true, Cronicas takes you to the untold and un"spelled-out" stories behind the fractioned images in TV.

I am looking forward to Sebastian's next movie.

Thank you for bringing up the story about the terror that affected many Ecuadorian families. I think the actors did a great job, they were very convincing. I watched the movie with my American girlfriend and she was very moved. However, I am from Edcuador and I lived in Guayaquil when those crimes happened. The real name of the the killer was Daniel Barbosa Camargo and his real nickname was the Monster of the Andes. There were a couple of things that did not match the time frame when that happened. First of all, the flip flap cell phones were not invented then. Second of all, I am willing to bet that the bar where the actors were drinking at, did not have a color TV but an old beat up black and white TV set. I was a little disappointed with the end of the movie. I thought they were going to show at least in writing what happened to the Monster after he was incarcerated like the fact that he was killed inside prison and more than likely tortured like hell before that happened. A very important issue that could have been part of the movie was the fact that at the time there were conspiracy theories, stories about a dark SUV that was picking up the victims and also the theory that there were more than just one killer. Nobody in Ecuador believed at first that such a little fragile looking man like Camargo could have committed all those crimes. I hope that in the future you can make another film and continue with the story in a more realistic manner. I am open for comments if you need my assistance. Best regards.

Young Ecuadorian director Sebastián Cordéro's "Crónicas" begins and mostly sustains itself as good intense fictional coverage of what can happen when corrupt, sensationalistic journalists in Latin America cover a crime wave far from home base and encounter what even for them are obvious moral conflicts when they attempt to exploit it.

A Mexican news team out of Miami goes to cover the search for "the Monster of Babahoyo," a pedophile serial killer in the province of Los Rios in a remote part of Ecuador. A violent incident in the street when the team arrives in Babahoyo puts their reporter in contact with somebody who may be a victim of public hysteria, or may be the killer. Crónicas never gives you time to think and screws up its suspenseful situation into a tight knot and then lets go and drops you. Somewhat ironically the result feels very like the first episode of a sensational TV miniseries. The film would have been better if it had stepped back occasionally and let us and the story breathe. A haunting opening sequence of a man alone bathing and washing clothes gives a hint of how that might have happened.

The news people are serviceable stereotypes: photogenic lead reporter Manolo Bonilla (John Leguizamo); his sexy female producer Marisa (Leonore Watling), who soon hops into bed with him; his raunchy, substance-abusing cameraman Ivan (José María Yazpik), who has to keep pointing out that they're all supposed to be a team. To lend cred and support to the movie and give them a boss there's Alfred Molina in the background phoning in as Miami anchorman Victor of a fictitious news show, "Una Hora con la Verdad," seen and heard only on tiny TV screens and ever-present cells. Haunting the news team as it prances around and threatening a confrontation that never really materializes is "the only honest cop in Latin America," who happens to be the local police captain and seems to have a lot of time on his hands which he spends tracking the news team and reminding them they're not following the rules. Such reminders are feeble since they're free to fly out whenever they want and have plenty of money to bribe low level cops. Besides that Manolo is asked for his autograph constantly and greeted as a hero for things he now wishes he hadn't done.

Director Sebastián Cordéro's best move in "Crónicas" is to try to build a serial killer who's not a spooky Hannibal Lector type super-villain but a human being whom his victims trust and other people like. Cordéro makes real headway at achieving that goal by choosing the pitiful, sweet-faced Damián Alcázar to play Vinicio Cepeda, the "witness" in prison who may be the suspect. Where Vinicio fits in winds up being too clearly telegraphed, but the best scenes are still the ones where Vinicio gives creepy, insinuating testimony to Manolo (away from Ivan's camera) and bargains for his life.

What also makes "Crónicas" worth watching, if you can stomach the theme and don't mind the simplifications and lack of modulation in the sequences, are the grittily authentic local backgrounds: messy hotel rooms, grungy prison cells, chaotic streets, shantytown dwellings. These give the in-your-face story a sense of authenticity that isn't entirely undercut by the stereotypes and the pumped-up action. What doesn't quite work is a screenplay that gets everything going full speed from the first reel and never lets up till it just walks away leaving you waiting for the next gripping episode.

(Seen at the San Francisco Film Festival, May 3, 2005)

It's hard to rate a movie that you find intensely disturbing and a bit nauseating. I saw this at the Philadelphia Film Festival, and the friend who saw it with me was equally disturbed - we both wanted to give it a rating of F***ed Up. Then again, if you spend the next two hours talking about how much a movie bothered you, that means it was well acted and directed, right?

The reporter (Leguizamo) crosses the boundaries of morality and goes too far in pursuit of his story, and the movie ends on a very unsatisfactory note. Still, the bad guy is very good at being a psychopath, and the reporter and his crew are very good at being morally bankrupt. See Cronicas, but brace yourself for unpleasant subject matter.