Museo
- 2018
- 2h 8min
NOTE IMDb
6,9/10
6,4 k
MA NOTE
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Ajouter une intrigue dans votre langueIn 1985, a group of criminals mock the security of the National Museum of Anthropology in Mexico City to extract 140 pre-Hispanic pieces from their showcases.In 1985, a group of criminals mock the security of the National Museum of Anthropology in Mexico City to extract 140 pre-Hispanic pieces from their showcases.In 1985, a group of criminals mock the security of the National Museum of Anthropology in Mexico City to extract 140 pre-Hispanic pieces from their showcases.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 7 victoires et 32 nominations au total
Maite Suarez Diez
- Jimena
- (as Maite Suárez)
Amaya Suarez Diez
- Adriana
- (as Amaya Suárez)
Camila Robertson Glennie
- Camila
- (as Camila Robertson)
Natalia Garcia Agraz
- Gaby
- (as Natalia García)
Avis à la une
In general Gael Garcia Bernal is always part of great projects, this time is not the case, the movie had a great anecdote based on a true story and at the end they made a boring and at times ridiculous film, what a waste fo talent! the director wasted a great plot.
Museo was shown as part of the 2018 Melbourne International Film Festival (MIFF). It tells a great story with some quirkiness and comedic elements. As a Mexican movie, there are some aspects such as historical and political factors that are culturally-specific. These aspects made it difficult for me to comprehend totally, having no knoweldge of Mexican culture. It's not a criticism of the film, more a self-disclosure of my inability to relate to all of the content. This aside, there are many aspects of Museo which have universality: the relationship between parents and adult children, the humour, childhood friendships that continue into adulthood, the moments of pathos and family Christmas get-togethers, which is portrayed with great mischieviosness in Museo. These are built around the heist of the Archaelogical Museum, which is at the centre of the film. Museo also raises questions about storytelling which is in the background throughout the movie. Are stories which are passed down in narrative form always accurate or do they become embellished as time goes on? What is fiction and non-fiction? What is true and what is false? So that at the end of the movie the audience is left wondering how much of what is portrayed did happen. Gael Garcia Bernal as Juan (the brains behind the heist) steals the show (oops poor pun there .. lol). His sidekick Benjamin played by Leonardo Ortizgris makes up the pair and provides some of the funnier moments in the film. The film drags a little in the middle and could do with some editing. Overall, this is an entertaining film, which will have more salience for a Mexican audience.
The movie left me with very mixed feelings. I'm a sucker for this kind of movies, that are slow paced, have lots of symbolic imagery and but told in a light-hearted way. I admire the movie more for it's technical achievements: It's great use of sound and editing. A good sense of visuals that stick with you. It's the story part that left me a bit disappointed, especially after reading about the real story.
Our protagonist is one of the dumbest individuals out there but at the same time he comes up with a pretty intricate way to devise a heist. We get a good view of the psychology of a good-for-nothing guy who wants to prove himself to himself, his family, to the world and to history. The movie has some interesting things to say about the ethics of museums and heritage of cultures. But it's more like an afterthought than an actual deep dive. I don't now if it was intentional but Juan never really does become likeable throughout the journey, not even a bit (not like his sidekick at least). He stumbles through his life and close calls like Peter Sellers. In fact, a lot of the images and music is very reminiscent of the 60's, although the movie is supposed to be taking place in the 80's which kind of confused me several times. The last half of the movie is kind of meandering in my opinion and the movie could have easily be trimmed down to 100 minutes. But it was still an interesting experience/insight into Mexican culture, although emotionally it didn't really grab me.
Our protagonist is one of the dumbest individuals out there but at the same time he comes up with a pretty intricate way to devise a heist. We get a good view of the psychology of a good-for-nothing guy who wants to prove himself to himself, his family, to the world and to history. The movie has some interesting things to say about the ethics of museums and heritage of cultures. But it's more like an afterthought than an actual deep dive. I don't now if it was intentional but Juan never really does become likeable throughout the journey, not even a bit (not like his sidekick at least). He stumbles through his life and close calls like Peter Sellers. In fact, a lot of the images and music is very reminiscent of the 60's, although the movie is supposed to be taking place in the 80's which kind of confused me several times. The last half of the movie is kind of meandering in my opinion and the movie could have easily be trimmed down to 100 minutes. But it was still an interesting experience/insight into Mexican culture, although emotionally it didn't really grab me.
I like the tone of the movie, the characters are funny, the story is serious, the events are tense. You won't regret watching. The film was adapted from a real story, but came to me a little exaggerated. Especially when I was watching the robbery scene. I hope our museums are better protected.
Museo (screenplay by Manuel Alcalá and Alonso Ruizpalacios; direction by Ruizpalacios) is the most cinematically stimulating movie I have seen so far this year. The film dramatizes an actual 1985 theft at the National Museum of Anthropology in Mexico City but then shifts to focus on the emotional impact of the theft on the two perpetrators. About ten minutes into the film I found myself thinking, "They don't make movies like this anymore." Why did I feel that way? Both the subject matter -- the anomie of the middle-class in a nation with profound social divisions -- and Ruizpalacios's wide-screen composition recall Fellini and Antonioni films of sixty years ago. So do the dramatic Saul Bass-like titles, the symphonic score and sound design. Seek this movie out!
Le saviez-vous
- AnecdotesThe movie is a fictionalized account of what was called "The Heist of the Century", with the obvious changes. In reality, it was performed by two veterinary school students, actual names Carlos Perches and Ramon Sardina. The movie portrays the events of the actual robbery quite accurately, including museum guards being careless due to a Christmas celebration, the amount and type stolen pieces, the method of escape, as well as the first suspicion of the heist being done by professionals working for international art dealers and the 50 million pesos reward offered by the museum. Later, the film comprises time periods and combines several characters into a single one. In reality, the thieves managed to avoid capture for four years: Perches and Sardina went to Acapulco, when they tried to sell the pieces to drug lord Jose Serrano and his mistress, a popular cabaret dancer nicknamed "Princesa Yamal". Serrano introduced them to Salvador Gutierrez a.k.a. "El Cabo", another drug lord, who promised to sell the artifacts and estimated a price tag of one billion dollars. Two of the pieces were given to Serrano in exchange for cocaine by Perches, while Sardina apparently gave him seven as evidence they were the actual robbers. The police, in the meanwhile, had lost track of the pieces and closed the file, in part by the fact of the Museum not having a complete inventory of the stolen artifacts until much later, with the first reports showing wrong or incomplete records. Finally, in January 1989, the Mexican Federal Police arrested "El Cabo", who gave them all the leads to find the robbers. Perches was arrested in April at his house, along with his brother and the rest of the stolen artifacts. Five more people were arrested, including Serrano's mistress, an Argentinean showgirl called Cristina Gonzalez -both later released- and an American named Nathan Clevenger, the apparent buyer. In total, 111 of 124 pieces were recovered and returned to the museum. However, the whereabouts of Ramon Sardina and the nine pieces he and Perches gave away is still unknown.
- Citations
Benjamin Wilson: What are Satelite-folk like, then?
Juan Núñez: A Satelite-folk is a person so tired from work, they'd rather watch TV than be with their family. What's on TV tires them, so they go to bed more tired. Their dreams tire them too. They wake up looking like crap, so tired. And one day, just like that, they die from exhaustion.
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Détails
Box-office
- Montant brut aux États-Unis et au Canada
- 148 505 $US
- Week-end de sortie aux États-Unis et au Canada
- 16 554 $US
- 16 sept. 2018
- Montant brut mondial
- 762 284 $US
- Durée
- 2h 8min(128 min)
- Couleur
- Rapport de forme
- 2.35 : 1
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