Few titles from this year’s Cannes were a bigger surprise than The Delinquents, a three-hour-plus Argentinian crime comedy with existentialist leanings. Word from the festival was largely outstanding, critics finding Rodrigo Moreno’s treatment of the heist subgenre entirely fresh when such seems impossible. Ahead of its October 18 release from Mubi, a trailer has arrived.
As Rory O’Connor said in our review, “In each of those lives the film’s central question about the nature and cost of freedom is finely sketched out. The men Morán encounters in prison enjoy a freedom of time and thought that is alien to him at first; while in Córdoba, both men discover a freedom beyond the reach of their urban, consumerist lives. The money, of course, promises another kind of freedom entirely. These ideas are drip-fed over The Delinquents‘ leisurely runtime, and thanks to Moreno’s patient, wistful approach, there is no...
As Rory O’Connor said in our review, “In each of those lives the film’s central question about the nature and cost of freedom is finely sketched out. The men Morán encounters in prison enjoy a freedom of time and thought that is alien to him at first; while in Córdoba, both men discover a freedom beyond the reach of their urban, consumerist lives. The money, of course, promises another kind of freedom entirely. These ideas are drip-fed over The Delinquents‘ leisurely runtime, and thanks to Moreno’s patient, wistful approach, there is no...
- 9/14/2023
- by Leonard Pearce
- The Film Stage
Near the halfway point of The Delinquents, a funny, existential epic from Argentina, a banker dips into an arthouse cinema. Though almost all the seats are free he can’t decide which one to choose. What’s the point of all those options, the film asks, if you’re always left wanting more? In another moment the elder statesman of a prison yard explains that the only advantage a cellmate holds over those outside is having all the time in the world to think. (What’s the point of freedom itself if you’re a slave to the algorithm?) “There wasn’t more freedom,” another man explains, reminiscing about an objectively worse era in Argentinian history, “but you could smoke anywhere.”
One of the very best films from this year’s Un Certain Regard, The Delinquents, the seventh feature from Argentine director Rodrigo Moreno, is set in motion with a delicious bit of game theory.
One of the very best films from this year’s Un Certain Regard, The Delinquents, the seventh feature from Argentine director Rodrigo Moreno, is set in motion with a delicious bit of game theory.
- 5/26/2023
- by Rory O'Connor
- The Film Stage
Most of us know the illicit rush of the sick day slyly pulled when you’re not really sick. The turning you ignore on your commute, but that one day, for no real reason, you take. Oh, that sudden, intoxicating sniff of freedom! It’s perhaps the closest thing that many of us get as adults to the ceaseless adventure we thought, as children, we’d be living. Argentinian writer-director Rodrigo Moreno’s delightful “The Delinquents” knows the feeling too. Over the course of its droll, meandering, indefinably strange three hours, it may well persuade you that the crazy thing is not to break from your normal routine. The crazy thing is to ever go back.
Filmmakers have long been attracted to the heist format for the high drama it can generate, but Moreno begins his movie with a bank robbery so banal it’s hard to believe that’s actually what is going on.
Filmmakers have long been attracted to the heist format for the high drama it can generate, but Moreno begins his movie with a bank robbery so banal it’s hard to believe that’s actually what is going on.
- 5/24/2023
- by Jessica Kiang
- Variety Film + TV
There are movies that grab you by the throat and refuse to let go until the story ends. And there are others that playfully take your hand, guiding you into stories that blossom and fold in on themselves several times over, leading to endings that are more like beginnings.
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
- 5/18/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
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