Taxi para 3

Well, this is one of the most popular chilean movies along with "el Chacotero sentimental". But being popular does not mean to be good.

The film is an easy watching light study of the lower chilean social types everyday living. A little funny sometimes, but blatantly insane others, the central plot line is to grab or not an opportunity to become a thieve and make some money and when in to it, finding a way to get out.

There's a little political "taste" of the years 1973-1989 that you just can't bypass (like the smiling-guy-from-gestapo attitude of the police), but it won't matter too much if you're not that old.

So, you should watch it, and see how difficult can it be to live when you have no chances.

This film was the most popular in Chile in the 2001, but this film is not the best. It is a travel for the Santiago Underground, where survivor is the life motive every day. A intimate see to the problems of a taxi driver, father and husband, where the money is the matter and the moral not pay the checks

Taxi para 3 (A cab for 3) is one of the best films I have had the opportunity to watch recently. It shows the "real" Chile through real life characters, The story is really entertaining, the characters are convincing and well defined, but its not a "feelgood movie". It's a deeper look into the humanity of the everyday struggle for survival of ordinary people who can be drawn into unplanned dramatic situations.

It got the Golden Shell at the Spanish San Sebastian film festival, sending the Spanish superproduction "Juana la Loca" to a humilliating second price - sometimes justice happens and a great, but low budget movie can still win over an expensive production promoted by a major distributor.

Taxi para 3 (Taxi for 3) is about the sad life of many people in Chile. But is not a sad movie or a politic one. The curious and sometimes funny relation between two thieves and a cab driver shows all the moral misery in Chile nowadays. The three leading roles are just brilliant, and the script is very smart and well written. The line: "¿Volante o maleta?" (Wheel or trunk?) when the thieves are kidnapping the cab driver, is one of the most powerful in modern Chilean cinema, and resumes the world that Orlando Lubbert shows us. The only weak point is the photography, but doesn't bother watching this good movie with a good story, good acting and a good soundtrack.

As a foreigner studying new Chilean film it was this film which impressed me more than any. The low production costs, gloomily atmospheric cinematography and sparse mise-en-scene submerge the viewer in Santiago's poorer nieghbourhoods from the opening scene until the last. The film explores the breakdown of the family unit, the lure of crime for those poverty stricken sectors of society documented, but ultimately is a triumph of morality which restores the viewer's faith in the Chilean person.

This film shot Alejandro Trejo to fame as Taxista Ulises, and his relationships with his family and with the petty criminals who use him as their chauffeur underpin the narrative. One can see why a family man becomes tempted by the get rich quick option of small robberies when his family live in such poverty (his son asks for coca-cola, and is told thats too expensive, theres only tap-water. This family cannot buy into the capitalist dream and are swept away. Ulises, like many poorer citizens, turns to crime. The social question raised by Lubbert, a man exiled during the Military regime, is 'Perhaps wealth should be distributed more equally, then men like Ulises would not so easily become criminals.'). Also, one can see why Ulises is driven to infidelity, and the strain of poverty, and the suspicion of his crime, begin to show in his relationship with his wife.

This film exudes brooding social decline, even thirteen years after the fall of the Military Regime. The dry, sun beaten expanses of Santiago's poorer Western barrios are made undeniabley Chilean by imagery of the Plaza de Armas, Churrascos, and dialogues bursting with Chilean slang. The moody soundtrack of Vasconcelos adds a melanchony feel of despair to the three main character's situations. This is a Chilean film, documenting social problems, and doing so without indulging in hyperbolic comedy, as the two most successful films in Chilean history, Sexo Con Amor and El Chacotero Sentimental (at least two thirds), did so memorably.

Lubbert has returned to Chile in the new climate of social freedom, looked around him, and seen there remain serious social problems. The tension is always there, even if at times lighthearted, but the overriding theme is that of social criticism, and Lubbert has realized that he doesn't need to make people have sex on top of washing machines (a la Sexo Con Amor) to make Chileans go and see a Chilean film.