Carancho

Little White Lies“It’s not just the overt violence that makes an impression...” In its depiction of masculine aggression displaced into a high-pressure, low-morals business environment, Carancho also calls to mind David Mamet’s seminal Glengarry Glen Ross. Like that film, the performances here are exceptional...

The Independent“The problem with the film is its murkiness of plotting...” Gusman and Darín are good as the flawed couple. Its journey through nighttime Buenos Aires is less dangerous, though perhaps not much less grim, than an actual ride through those mean streets...

Guardian“It could be his best film to date..” Together, Luján and Sosa have a Bonnie and Clyde heroism. Let's hope Carancho isn't remade. No Hollywood pairing would have a fraction of this steam heat...

The Telegraph“Has a Hollywood-ish air...” We’re headed, by the end, for a literal pile-up: the statistic that 8,000 Argentinians die in traffic accidents every year gives his film a context, but Trapero didn’t need to work quite so hard to prove it...

Time Out“A brooding, gnarly, grown-up drama...” Edward Hopper nightscapes provide an effective context for a film where the question of how far someone can stray before they’re lost forever isn’t just a matter of narrative trickery but a genuinely soulful, gnawingly tense moral challenge...

Empire“Feels more like a slick genre picture than an authentic slice of life...” A bleak but emotionally bloodless look at the traffic chaos that claims 8000 lives on Argentina's streets every year. It's relatively effective as a thriller, but rarely welcomes the viewer into its world of legalities and despair...

Total Film “Darín and Gusman are two of Argentina’s most soulful stars...” Trapero struggles to crank up the tension on both their relationship and his corruption exposé (“vultures” feeding off 8,000 annual traffic accidents). Scenes spark then fade, until the sinuous climax arrives with collision force...