Director of 2008’s Lion’s Den, one of Argentina’s most skilled filmmakers returns with a story drawn from the alarming violence on his country’s streets. Each year, more than eight thousand people are killed on the road and over a hundred thousand are injured. As a result, a A disturbingly large part of the Argentine economy revolves around traffic accidents, and a profit stands to be made from the ongoing flow of . Each year, more than eight thousand people are killed on the road and over a hundred thousand are injured. Apart from medical expenses and , a huge amount of money is generated by insurance company claims. Trapero’s sixth feature plunges into this murky world of opportunism, spotlighting the crooks that swoop in on emergency rooms and accident scenes.
Legal vultures swarm hospital waiting rooms and accident scenes, hoping to represent the victims and their families. Pablo Trapero’s sixth feature, Carancho, immerses us in this murky world.
Sosa (Ricardo Darin) works for a so-called foundation (really a dodgy law firm) that helps traffic victims make insurance claims but keeps the lion’s share of the settlements. On the job, Sosa meets Lujan (Martina Gusman), a young doctor trying to chalk up hours working round the clock as an ambulance medic and an emergency room attendant. Tired and sickened by his work, Sosa is eager to attain his license to practice law. His relationship with Lujan seems to signal a brighter future.
Filmed as a classic noir, Carancho is steeped in a dark and sombre atmosphericse. Trapero depicts an intense world of car crashes, drug addiction, emergency rooms and violence. Sosa is a complex character caught in a moral quagmire, while Lujan keeps her own dark secrets. Sosa wants to make a break with his past and do the right thing with Lujan’s help, but the walls of corruption – reinforced by the doctors, lawyers and policemen who serve to protect a system – present a seemingly insurmountable barrier.
Trapero has built an impressive filmography since his 1999 debut, Crane World, heralded a new generation of Argentinean filmmakers. He has a facility for crossing genres and themes, as well as an exceptional eye and a mastery of his craft. Visceral and packed with complicated moral questions, Carancho is an engrossing love story set in a world peopled by among people who trade in sudden tragedy and death. –TIFF.net
Pablo Trapero was born in Buenos Aires in 1971. His feature films are Mundo Grúa (1999), shown at Venezia (Critics Award), and El bonaerense (2002), which was presented at the Festival de Cannes 2002 in Un Certain Regard. He also directed Naikor, a short film premiered in 2001, and Sarasa, a documentary for television (2002). In 2002 he created Matanza Cine, an independent film production company, which produced La libertad by Lisandro Alonso, Ciudad de Maria by Enrique Bellande and La mecha by Raul Perrone. –Cannes
In a country where thousands die every year on road accidents, there are always voltures waiting around to profit from it. The film treads between corruption and personal integrity. And although it seems indifferent at first, but as it unravels it gets more gutsy and ends with a climatic bang.
An interview with the Argentine director of the Locarno, TIFF and NYFF-selected film, El Estudiante.
"When young director Pablo Trapero shot El Bonaerense in 2002, he pushed the frontiers of socially realistic cinema in Argentina," writes
CARANCHO é um thriller que aborda fraudes no sistema de seguros de vida numa cidade em que acidentes automobilísticos são rotineiros. Trapero rejeita maniqueísmos e uma linguagem frenética para conduzir… read review