Toscano’s film, with a title that perhaps is a nod to Bicycle Thieves, is set on the outskirts of Tucuman, in Northern Argentina. This is a city where the police are on strike, and where gangs of bored men loot electrical shops in broad daylight. A petty thief who robs old ladies on his motorbike is caught up in this listless world of borderline poverty, where people seek out any way possible to get hold of the desirable gimmicks of modern life. When one of his victims ends up in hospital, he starts to get pangs of conscience, and an odd-couple movie ensues, as the thief and his victim develop a mutual dependency on one another.
Whilst the world feels slightly Latin American generic, the narrative has just sufficient twists and turns to keep the viewer guessing and cover up a few holes. The good guys aren’t all they seem and neither are the bad guys. But what distinguishes Toscano’s film is its cinematic aplomb. The acting is impeccable, with Sergio Prina making for a credible, sympathetic petty criminal, whose complex desire to create a different kind of life for himself and his young son is portrayed with a deadpan assurance. The cinematography of Arauco Hernández contains an edgy dynamism, which excels in the looting scene, captured in one long take with a great pay-off. The soundtrack is punchy and effective. Everything possible is done to give the film an edge, one that helps it to steer clear of the Latin clichés, and makes for a solid, engaging piece of film-making.
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