El bonaerense

A criminally inclined locksmith is caught on the job, so he is given two choices, jail or join the police force. His uncle is a high ranking police officer who can get him out of his predicament.

He's a bit too old and not the sharpest tool in the box, but he manages to pass basic training and is sent to a poor barrio in Buenos Aires where he manages to learn 'on the job' it is a story that comes full circle for him as it does for us.

Entertaining and full of grim, black humour. If you like your comedy heavy and dark then you will like this film.

World cinema is littered with parables about big-city vice and corruption seen through the eyes of an innocent outsider who, whether through circumstances or choice, finds him- or herself enmeshed in a world he or she barely understands, yet feels morally obligated to correct. Though the outline of El bonaerense suggests another entry into this dependable, if well-worn, category—it features a reticent provincial (Jorge Román) who, after being scapegoated for a crime, has no other option but to follow his ex-cop uncle's advice who has him enlisted in the disreputable "Policía Bonaerense" in Greater Buenos Aires—its characterizations and internal narrative logic carry the film far beyond the conventional and expected.

Co-written and directed by Pablo Trapero, once a leading light of the so-called Argentine new wave alongside Lucrecia Martel, Martín Rejtman and Lisandro Alonso, the film is not only both grittier and more absurdly comic than most of Sidney Lumet's policiers that are set in and around New York City, it also boldly lacks a character who serves as a moral compass. But it similarly depicts the metropolis as a writhing, slithering organism, consuming everyone and everything in reach. And, likewise, the more intimately detailed the proceedings become, the more they allude to the inefficiency at the greater sociopolitical levels, the bedrocks of institutional dysfunction (and individual corruption).

Shot verité style with an often gorgeously grainy color palette, the film is marked by a pair of sweaty, explicit, almost violent sex scenes that, similar to such moments in Cronenberg's A History of Violence (2005), help illuminate both the underlying behavioral instincts of the protagonist (whose subjectivity remains opaque) and the dynamics of the relationship he shares with his significant other—in this case an older police instructor, one of many lively secondary characters. Offering no easy out for either its subject or the audience, El bonaerense presents a disarmingly disturbing vision of a society that has lost its soul.

A cop's life in Argentina.. AND, that of a cop who's not even a cop! Sounds interesting, doesn't it? Well, it kind of is.. The story and the acting are not too bad. But unfortunately the movie suffers from the typical lacking of most Argentine movies: It doesn't have a twist. I think the rather weak screenplay is to blame. With this story and these actors, a much better movie could have been made. Plot, screenplay, story, etc.. Those concepts must be well-knit (or at least each handled properly) in order to make a flawless movie. That's where El Bonaerense fails. Something is sooo missing! I'm not sure what exactly, but something for sure. So I can't say it's quite rewarding. Tries hard, but doesn't really deliver. Nevertheless, it's watchable, and quite an interesting insight on Argentina and its police force in general. I would recommend watching it if it's not going to cost you too much. But if you're planning to add one more item to your DVD archive, buy something else with your money to add to your collection, and just RENT this very one to watch once.

This is one of those films that doesn't exactly have a strong storyline but is enjoyable enough. Some good acting performances help move the film along.

This is a raw, passionate and brutally honest piece of film-making by a director destined (one would hope) to make more films of this quality.

Pablo Trapero, sharing his unique view of the world via the camera, not only gives us stunning and arresting imagery but draws remarkable performances from his cast, especially Jorge Roman as Zapa (frighteningly vacant at times) and Dario Levy as the charismatic but ultimately underhand Gallo.

One of the best films I've seen in a long time.