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Luis Tosar in a minor role.
An aerial shot taken from one of the Cuatro Torres in northern Madrid has us looking down on a swarm of ant-like passers-by, symbolising our protagonists longing to elevate his social standing. From his home in the far-flung outskirts of the city, the distance to those gleaming skyscrapers seems insurmountable. This run-down suburb is a hotbed of violence, scheming, criminal masterminding and car pimping, home to a rough-and-ready wannabe mafia. In this respect, at least, Calparsoro’s film dovetails thematically with the quinqui aesthetic of flares, frenzy and trigger-happy violence, peopled with low-lives ready to prostitute themselves for a bit of cash, created by trailblazing filmmakers like
Luis Tosar in a minor role.
An aerial shot taken from one of the Cuatro Torres in northern Madrid has us looking down on a swarm of ant-like passers-by, symbolising our protagonists longing to elevate his social standing. From his home in the far-flung outskirts of the city, the distance to those gleaming skyscrapers seems insurmountable. This run-down suburb is a hotbed of violence, scheming, criminal masterminding and car pimping, home to a rough-and-ready wannabe mafia. In this respect, at least, Calparsoro’s film dovetails thematically with the quinqui aesthetic of flares, frenzy and trigger-happy violence, peopled with low-lives ready to prostitute themselves for a bit of cash, created by trailblazing filmmakers like