El Traspatio (2009) Poster

(2009)

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8/10
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kosmasp28 December 2010
While this was played at the Fantasy Filmfest, it is anything but. It's more documentary than fiction. And there is no fantasy to be had here. Of course it is a very well known fact that crimes are committed around the world, so does this movie offer any new insight? Depending on how much you know on that matter, it might.

And it is mostly "educactional" rather than entertaining. Trying to open our eyes to a very shameful situation happening. The question is, how much do we care or are we able and willing to change what is happening? Is it the old: "What can I do from where I am at?" or the "There is worse things happening elsewhere".

Whatever is true, the movie is harsh and down and dirty and not something that can be considered an easy watch. It's as uncomfortable as to be confronted with things like the ones I have mentioned above. If you think this review is harsh, you may wanna stay away from this movie too
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7/10
great work from Ana de la Reguera
SnoopyStyle30 August 2014
It's a fictionalized account of a long list of dead young women found in Juarez, Mexico during the 90s. They are all factory workers drawn to the new jobs. It's 1996. Police detective Blanca Bravo (Ana de la Reguera) is new and investigating the latest body found in the desert of Cuidad Juarez. The first documented case was 3 years ago and the police investigations have been incompetent. There is a lot of political and economical pressure to minimize the reality. The movie also follows Juanita who just arrived starting a new job at a factory. Bravo arrests a lowlife criminal and he calls businessman Mickey Santos (Jimmy Smits) for help. Santos is supposedly squeaky clean but he turns out to be a fellow sex offenders from El Paso. The governor is always pushing to put the case away.

I really like Ana de la Reguera. She's playing a smart cop in a world of compromises. She's carrying this movie on her shoulders. She adds another level by being a woman in a male dominated world. The setting is quite compelling. It's great to get the realistic locations. I do wish for better cinematography. However that's a small matter.
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8/10
They call it Angel's Delight.
lastliberal1 October 2010
Warning: Spoilers
If you enjoy the intellectual stimulation of social justice cinema, you have to go outside the borders of the US (Norma Rae and Dead Man Walking excepted).

Director Carlos Carrera's list of feature films can be counted on one hand, but he already has a Golden Palm, and his 2002 film, The Crime of Father Amaro, garnered an Oscar and Golden Globe nomination. He is one to watch now, and in the future.

Another who has my eye is Ana de la Reguera, who I first saw in Así del precipicio. She was also in Nacho Libre and Cop Out, but I doubt I'll see either soon. As the new police captain Blanca Bravo, she is charged with finding out who is responsible for the missing and dead girls in Juarez, Mexico.

Joaquín Cosio (Rudo y Cursi, Quantum of Solace) is fantastic as a radio DJ that reports on the murders, and the fact that the so-called "serial killer" the government has jailed was not available for the day they find 8 women naked in the hot sun, where they have been left to decompose. Another every week after that, too.

The powers that be just wanted everything to go away. It was bad for business. Fortunately, some were refusing to quit (Rivera). As they always do, they paid the price.

Jimmy Smits makes a cameo appearance as a slime bucket who gets what he deserves.

A great film based upon real events, not only in Mexico, but throughout South America.
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A comment on another review, amongst other things
amyjulio14 February 2012
One reviewer wrote that this movie is set in the "small" Mexican town of Ciudad Juarez, bordering the United States. Actually, Ciudad Juarez has approximately 1.3 million residents. While not the size of New York City or Los Angeles by any means, "small" town is hardly an appropriate description. FYI, Ciudad Juarez is only separated from El Paso, TX and a short stretch of Sunland Park/Anapra, NM by a narrow river, the Rio Grande (or Rio Bravo, as it is commonly known on the Mexican side). If seen from overhead it looks like one city. Many parts of Juarez are modern, Westernized-metro areas with shopping centers, U.S. fast-food chains, and an international airport. Together, the El Paso-Ciudad Juarez metropolitan area is populated by approximately 2.5 million people.

However, from Interstate 10 on the West Side of El Paso which parallels the river, the differences between the cities are quite evident. A typical U.S. metropolitan infrastructure can be seen on this side of the river, while shanty towns made of pallets and corrugated metal roofs can be seen on the other side. The sight is profound, sad, and all too real. When one grows up in an environment like that, one tends to have a different perspective of the U.S. and what "first world" really means. Most U.S. citizens don't ever confront those issues first hand, on a regular basis. We Southern Border Folk are exposed, directly or indirectly to a poverty that is severe, harsh, and very different from what U.S. poverty is typically known to be.

That severe poverty crosses over into the more rural border regions of the U.S. which are classified by the U.S. government as "Colonias", which are areas of the U.S. without the typical U.S. infrastructure that most U.S. Citizens take for granted (like electricity, natural gas, or running water). When you live in these regions, raised in them, compassion to those dealing with and escaping from this poverty becomes a part of you. Physical and geographical distance from that reality makes the heart less compassionate and the brain less understanding. That's why i believe most of us U.S. citizens tend to think politically before thinking humanely when involving border issues. We're mainly exposed to the "third world" through television; not driving to work, or shopping for groceries, or going to school.

Now there is undoubtedly extreme poverty scattered throughout the United States. Many citizens of Native-American communities and reservations live far below the U.S. poverty level. Pockets of what can be considered "third world" poverty exist especially in various regions of the South and in Appalachia, for example. These are areas like the "Colonias" where infrastructure is not systematic, but self-sufficiently innovated and "out-of-code", "off-the-grid", and not in that cool, tech-savvy, environmentally-progressive way. The difference between those areas and the "Colonias", besides the general ethnic background of the people (the aforementioned areas tend to be primarily White-Americans {or Americans of European descent}, and African-Americans) is that the "Colonias" encompass a much larger and concentrated geographical area as well as a much larger population of impoverished citizens than those scattered throughout the rest of the U.S.

These "Colonias" which exist from Texas all the way to California, and whose populations all together make up a few million, are real. The vast majority are of Mexican descent, though of course there are also smaller percentages of White-Americans, African-Americans, and Central-Americans. Many are "illegal", though most are legal citizens born and raised in the United States. "Third world" poverty exists in these regions of the U.S., make no mistake. These people constantly strive to be self sufficient. They don't expect hand outs. They don't expect government programs to save them as the politicians often describe them. But they are stuck between survival and laws and codes. Sometimes laws and codes can prevent immediate survival. The corruption between the corporate and political partnerships between the U.S. and Mexico, the laws and codes regarding construction, and land ownership and/or distribution controls their access to clean drinking water and proper waste management. As these regions therefore have a population that makes little money, the public school systems that do manage to exist there suffer greatly and can't offer education that rivals the high earning and supposedly higher tax paying metropolitan areas of our country. These complex issues keep them from being able to sustain themselves, much less plan ahead and progress.

The Capital cities of Texas, New Mexico, Arizona, and California only throw pennies towards their Southern borders. The money stays near the Capitals, where the streets are paved and the schools have college prep courses and highly educated, and the highest paid teachers. It's hard not to view some of this oppression as systematic, as planned politics in order to keep a lack of "legal" control in a region in order to aid the criminal, corrupt entities to work in the shadows, with the citizens' eyes not focused on them because their eyes are fixed on the priority of daily survival. As these citizens continue to be ignored, their voices dismissed and their plight for survival repressed, the Southern border of the U.S. will continue to crumble, through an oppression that breeds desperation that will only feed social unrest and revolution. This corruption between the two governments creates a void of leadership which is then filled by the black market; by criminal entities that create for themselves an alternative to the severe poverty of the region. Those entities become wealthy, which then become exploitative, threatening, violent, and powerful. But the key word is wealthy, the alternative to poverty, which becomes tempting to those who are most desperate. As the two governments shake hands and exchange "legal" treaties, contracts, and money, they ostracize their constituencies, they're citizens, leaving them exposed to the "illegal" elements which are only to happy to embrace them.

Peace
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7/10
across the border
dromasca25 May 2021
Produced in 2009, 'Backyard' (the original title in Spanish is 'El traspatio') - the film by Mexican director Carlos Carrera - is no easy watch. We could include it in the category of serial killers thrillers, if the amount of murders that are brought to the screen would not push the story into the horror category and if the fact that the script is inspired by real events would not suggest that it would rather be a docu-drama. It is shocking that what is reported in 'Backyard' - the murders accompanied by sexual assault and mutilation of hundreds of young women in the city of Juarez on the border between Mexico and the United States - are events that happened in reality, and in the following decade we heard repeatedly about many more cases of violence of this kind and other crimes that take place in this part of the world. It is obvious that the filmmakers used the popular cinematographic genres to draw attention to an extreme crisis situation and a phenomenon that urgently need radical solutions. However, the situation does not seem to have improved since then.

The main thread of thstory follows the investigation led by police officer Blanca Bravo (Ana de la Reguera), sent to Juarez to investigate a series of homicides and sexual assaults that take incredible proportions. Ciudad Juarez is not only geographically close to the American city of El Paso, but it is also the landfill and the cheap entertainment place of the American metropolis. They are separated not only by a border but also by an economic and social chasm. Corruption reigns in the police, politicians and industrialists who use cheap labor for various industries, including Japanese-branded cars. Most factories employ young women from all over Mexico (probably even lower paid) and they are the ones who are at risk of becoming victims of crime. The secondary story - which takes place in parallel - follows path of such a girl - Juana Sanchez Asur Zagada) - who came from a remote village to earn a living.

'Backyard' is well made and the only thing I would be critic about is the fact that it follows the rules of action movies too rigorously. Blanca is one of those characters who belongs to the category of the incorruptible and the fearless and the interpretation of Ana de la Reguera makes the role credible. Asur Zagada is also excellent in the role of the young Juana and so is Carolina Politi in a memorable supporting role. It is a feminist film and Carlos Carrera's directorial treatment helps us sympathise with the characters. The shocking scene that opens the film and the ending that puts the events in the historical context are strong and in fact there that the directors probably intended to express the message of the film. What happens between the opening and the end is a quality horror thriller, but a bit long and a bit predictable one. I do recommend 'Backyard' for the quality of the production and the importance of the message.
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10/10
Juarez
RanchoTuVu12 November 2010
Before the explosion of drug cartel violence in Ciudad Juarez was the ongoing murders of hundreds of women, many of whose bodies were dumped in the surrounding desert. Police Detective Blanca (Ana De La Reguera) tries her best to get to the bottom of the murders but runs into resistance at every step, from her commander all the way to the state governor. Juarez was a magnet for women from the impoverished south of Mexico thanks to the opportunities there to work in the maquiladoras. Sara (Carolina Politi) is a young woman from Oaxaca who is among the thousands who come to Juarez seeking work, and in the process being changed by the new life there, where the old conservative traditions are often discarded. Through Sara the movie presents the tragedy of the killings in Juarez, as the boyfriend she jilts after a few dates is taken in by a group of men who persuade him to get even. We never know who does these killings, but the exploration of this gruesome phenomenon is nothing short of fascinating in its look into the attitudes towards these victims. The real star of the film is the city of Juarez itself, as a radio commentator describes the "cobalt sky" and the camera captures the city's outlying areas at near dark. Jimmy Smits plays a wealthy El Paso businessman who owns some of the bars in Juarez and who is revealed to be yet another prime suspect among the seemingly so many who may have played their own parts in these horrible crimes. In the end, the film makes you appreciate the tragedy of this city.
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9/10
Open wound until when...?
Mariana Cornejo17 March 2009
Warning: Spoilers
The problem of the death women is the hydra for any authority of Cd.Juárez, a common place for the intellectuals and artists to denunciate and a complete state of "under siege" for the society who see the problem unsolved since so many time. With that background, this is maybe the first Mexican film to approach this serious matter since the documentary "Señorita Extraviada" back in 2001. And definitely, El Traspatio goes in a more direct direction than Bordertown(2006) with J-Lo and Banderas having persecutions in Hollywood style, or that forced (and failed because it was superficial) mention in Casi Divas (2008). There are many talented people in this one: Reknown writer Sabina Berman takes some stories (of course it's not possible to hold the whole matter in one film) and builds the principal frame. Skilled director Carlos Carrera (from that Alfonso Cuarón/González Iñarritu generation) takes a crew of great actors (so many great performances!) and presents us the open wound. It's a great change for the Carrera style, going now into city stories more than rural ones. Look for the cinematography, is really outstanding. The story goes to the nearly stages (no one can tell the beginning) of the problem with a net of characters and stories that connect each other, transporting the audience to Cd. Juárez and giving many topics to think about. If you are interested in social intelligent cinema, don't miss this one.
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8/10
Disturbing and brutally honest
adamonIMDb20 September 2016
Warning: Spoilers
For a relatively unknown movie I thought 'Backyard' (or 'El Traspatio') was terrific. It is a brutally honest account of events in Juarez, a Mexican town, during the 90s, in which hundreds of woman were abducted, sexually assaulted and murdered.

The film follows detective Blanca Bravo as she attempts to solve the latest in a long line of killings. However, she is up against it as there is little desire for justice, especially from the town's Governor who attempts to play down the events, claiming the town is no different to any other.

Not only is this an extremely well made, fascinating film, but it is also educational. I would highly recommend it for anybody interested in real crime stories.
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4/10
An important story told badly
thisissubtitledmovies26 December 2010
Backyard is a fictionalised version of events that actually occurred in a small Mexican/American border known as Ciudad Juarez.

The film covers similar ground to The Virgin Of Juarez and the better known Bordertown. In Backyard, though, Director Carlos Carrrera attempts to take a grittier, more realistic approach to telling the story.

While it's hard to argue with Ana de la Reguera's performance, one can't help wondering if this film would have benefited from a heroine that didn't take makeup and modelling classes while attending police academy.

An important story told badly.
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Message Movie.
rmax3048239 August 2011
Warning: Spoilers
Almost a docudrama along the lines of "Serpico", only this time the problem isn't a cabal of corrupt cops on the pad but multiple serial murders of young women in the border city of Juarez, across from El Paso.

The characters aren't fully developed. They're not supposed to be. This is a story about sociology, not personal drama. The script wanders around quite a bit but it's difficult to see how this could have been avoided because the disappearance and murders of so many women can't be extracted from the political and economic contexts.

And there are a lot of women brutally raped, murdered, sometimes frozen for a while, then dumped to rot in the desert. It's presented with some brutality too, but not cheaply. On the two occasions when a pistol is fired, it doesn't go off with the resounding WHOOM of a howitzer but only with an impertinent crack.

The Serpico figure is Ana de la Riguera, who plays the policewoman with the burning intensity of complete commitment. Another reviewer observed that she'd spent too much time modeling and being made up, but I don't know why. Like almost all the other characters, she seems devoid of movie artifice.

The women who provide the prey for the male predators are mostly young women attracted to the border by the American-run factories that offer a living wage for nine hours a day, five days a week. It may not be much but it's better than what they could do in their rural villages. Two cousins are provided as examples of what can happen to them. Neither is especially cute or sexy. They look like two cheerful, slightly plump teens mulling over the platanos in a supermarket.

The women who come to Juarez are increasingly disappointed because it's a city of declining economic advantages. An American entrepreneur explains it to some Japanese businessman at a meeting. Mexican labor is cheaper than American. The young girls make about five dollars an hour. But businesses are leaving the border cities because labor is cheaper elsewhere. In Thailand you can get a worker for eighty-seven cents. What all this winds up as, is a kind of festering pool of instability and unrest. The Americans we see are vaguely sympathetic but they aren't going to help the Mexican police because, as one Texas congressman says, Americans aren't going to like seeing their tax dollars spent on law enforcement in another country. He's clearly right about that. Wars, yes. Law enforcement, no.

Why do the gangs kidnap, rape, and kill the girls? Because no one is there to stop them. The victims are strangers, so no family feuds result.

The attitude of the politicians towards this is one of irritation. Damn. The multitude of murders is beginning to dampen the tourist industry. Murders are so common that the newspapers have almost stopped mentioning them. The New York Times agrees to a story but it will be on page six. The Juarez talk radio host keeps bringing them up though, and is considered an enemy. "These murders are a hornet's nest and the best thing to do is stay away from it," explains the governor. Ana de la Riguera is determined to find out what's behind it and she does manage to make a dent in the murder craze but she pays for it with her job.

We can thank a merciful Providence that we don't have to sit through the scene in which she must hand over her shield and her piece. We just have to sit through his telling her to do it. The director spared us that much but he does have a tendency to wobble the camera around as if caught in a terrifying conflict about which direction to aim it.

As a narrative, this is rambling and sometimes a little confusing. There are lots of loose ends. Why introduce an industrial sized meat-packing freezer hidden underground in the middle of the desert if you're not going to explain it? But its informative value is so high that it makes up for the sometimes disjointed story. The dialog makes some cogent points. If you kill one woman, it's terrible. If you kill a dozen, it's mass murder. If you kill a couple of hundred in the course of a year, it's no longer news.
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2/10
laboriously lame lesbian litany
Coralknight4 March 2016
VERY loosely based (and I can't emphasize this enough) on the case of Abdel Sharif, the film covers the topic of the high murder rate of Ciudad Juarez, Mexico exposed when mass-graves were found in the surrounding desert last decade. While Traspatio attempts to "personalize" the events through very believable character back-stories, it sadly turns into an ultra-feminist sounding-board/propaganda film with the essential message being: "men baaaaaaaaaaaaaaaaaad!" Yes, every single male character is unlikable in this movie; ranging from the simply incompetent to the dime-store evil villain. The movie is very graphic and violent...the rape scenes almost seem more gratuitous than shocking. I guess the only good thing I can say is the American version "Bordertown" with Jennifer Lopez was only slightly worse.
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4/10
Jaded thriller
Leofwine_draca7 October 2016
BACKYARD is a gritty Mexican thriller that explores the plight of young women in the city of Ciudad Juarez. It's a film in which the rape and murder of these innocent figures plays a large part and thus it's largely unpalatable viewing, and yet as the whole thing is based on fact it's also extremely shocking.

Having experienced a few of these Mexican movies like the similar HELI I'm afraid to say that I'm not really a fan of them. I appreciate that the stories need to be told but I would much rather watch a documentary than a fictionalised version. BACKYARD is a hodge podge of all too familiar themes involving the drug trade, the problems faced by the police force seeking to bring those responsible to justice, corruption, exploitation, and of course human trafficking.

The story is rather overlong and does feel unfocused in places. It's never exciting or suspenseful, just rather depressing. Old-timer Jimmy Smits plays a local businessman and is cast well against type, giving a solid performance, but the rest of the cast seemed to me to be playing rather tired and predictable roles.
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