El bonaerense

I decided to comment due to finding the previous comment exceedingly misleading. EL BONAERENSE is not a comedy and there's nothing "Jarmusch-like" about it. The protagonist is not a "small time hood" but a locksmith ordered by his boss to help a client open a safe. Presenting him as a "hood" would go against the major message of the film: how institutional corruption can poison and seduce an average guy, in this case a vulnerable man from the interior who moves to Buenos Aires, hence the title. The narrative structure is chronological and easy to follow (there's nothing "offbeat" about it). The scenes are rather brief with quick editing, rather than the long takes and laconic pace characteristic of Mr. Jarmusch. Where I disagree with the otherwise excellent comments from the Argentinian viewer is that I think EL BONAERENSE is an indictment of big-city police culture more than a character study. The film is more sociological than psychological, in my interpretation.

It has taken three years for Pablo Trapero to bring forward his second film, but it seems that time was not wasted. Much more refined and subtle than his first film ("Mundo Grúa" or crane world), he presents us the story of young, confused rural man who is forced to become a policeman after being involved in minor burglary. We witness his journey to Buenos Aires, his time as a trainee, his romance with an older teacher and his first encounters with the outlaws. The film does not aim at showing how the police force works but to tell the story of a man; we should not take the film as an intent to portray the corruption of policemen in Argentina or as criticism towards these men. I think the intention was to focus on Zapa´s story and take a look at policemen and at the social realities from his particular point of view. Performances are limited but correct, the images the movie produces are extraordinary and the "cumbia" music (a kind of salsa mixed with african percussion) generates a perfect ambience for the story told. I strongly recommend this film, perhaps one of the best argentine films of the last decade.

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 film was shown on cable recently. Unfortunately, most Aregentine "indie" films go unnoticed in this country because there is no market for something like this, even though it's better than most of the mediocrity one sees on a daily basis. Pablo Trapero's film is disturbing. Having seen his "Mundo Grua", we had to take a look at this new attempt of the director.

Mr. Trapero introduces us to Zapa, a young locksmith, living in the provinces. Zapa, is not a young man anymore, he is 32 and has no future. Zapa is the victim of an unscrupulous boss who sends him to a job that involves a robbery. An uncle is instrumental for getting him free when he speaks to a friend in the Buenos Aires' police department about a job. Zapa is accepted, but his initiation and training, contribute to his ultimate downfall; he is a victim of a system that is inept and corrupt. A great deal of the higher ups are on the take; in order to look the other way, those working in prostitution, or illegal activities, must pay for police protection.

It doesn't help that Zapa falls prey of a ruthless superior, Gallo, who makes him bend the same law they are sworn to uphold. Zapa falls in love with Mabel, one of the instructors, who is the only one that shows any compassion, and perhaps love, in the cold atmosphere of the big city, until she realizes her lover is working for the bad guys in the department.

The film offers good performances in general. Jorge Roman, as Zapa, makes us care for this man. Mr. Roman's casting is perfect because he brings to the role a roughness that with another actor would have been ruined. At the same time, this actor shows a vulnerability and candor in his interpretation of the yokel from the provinces. Mimi Ardu is good as Mabel, Zapa's love interest. Their intimate scenes are so sensual they make the viewer a 'voyeur' watching them. Finally, Dario Levy, as Gallo, the corrupt cop, makes a great appearance.

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.