Sometime in the middle of Rodrigo Moreno’s three-hour-long heist drama, Román, played by Esteban Bigliardi, comes across three strangers in the woods. They introduce themselves as Ramón, Norma, and Morna, and the camera flashes quickly down to a set of comic books featuring the character of Namor. This will give you an idea of Moreno’s sense of humor throughout the film. Each of our main or principal characters is a play on the same name. They are all vastly different people, but they are also all connected.
The film begins with Morán (another play on the name), played by Daniel Elias, a bank employee living his routine life. He wears the same outfit, gets the same coffee and breakfast, then goes to work and does the same task. Moreno places you right at the heart of this menial day, as Morán is desperate for a break from this repetition. In this, Moreno takes a look at what it means to live a life where work isn’t a thriving opportunity, but a means of limited survival. It gives you just enough, and nothing more. It’s empty, routine, lifeless.
When Morán finally decides to steal $650,000 from the bank, you may think him reckless. He even stares into the camera as he leaves, but Moreno has a confident hand on the situation. While many may bring up the length of this film as unnecessary, Moreno’s choices throughout are especially deliberate. In the early scenes, we have to see the mundanity of Morán’s life, including the people he works with. It’s a very stoic existence each person lives that rarely, if ever, crosses paths with each other. When we first meet Román, he’s in a neck brace and asks to leave his shift early to have it removed.
This may seem innocuous, but it matters as Román is the only one not on staff when Morán decides to steal, and thus, is the only person who will have deniability when questioned. Morán convinces Román to hide the money for him, admits that he’s going to turn himself in, and when he gets out, they will split the money together. Again, you are right to assume recklessness. In any other film, this will quickly become a story of betrayal. Moreno also understands this and keeps viewers on their toes as the film continues, weaving in aspects that will lead you down this path including an affair that both men have with Margarita Molfino’s Norma. It’s the reason why the film works so well.
Along with that is Alejo Maglio’s stunning cinematography. When we are in the bank, we see the coldness. You can feel the drab nature of a business intended to hollow out your ambitions and force you into a zombie-like routine. Maglio gets you to witness this through his use of solid colors. In the office, everything is either orange, white, or brown. Very stale, one-note palette. This is intentional to create an atmosphere of sameness. When Román and Morán are out in the woods, there is more color brought into their lives. A glimmer of hope for what could be possible if they’re freed from their working prisons.
This also contrasts with Morán in the prison. He is given that same level of sameness, although slightly different. This includes the boss of the prison yard also being played by Germán de Silva, who plays his boss at the office. It’s a way of showing Morán can’t escape the routine of his life no matter how hard he tries, and whether it’s work or prison, he will always be bound by the rules of someone else. It is once Morán begins reading books in prison that his mind is able to escape his surroundings and be free. It’s what makes the final shot of this film as mesmerizing as it is. It has Maglio’s gorgeous landscape photography, and it ends with the hope of a promising tomorrow for the two co-workers, now trusted friends.
Despite its challenging runtime, and a film that is far more drama than it is heist, The Delinquents offers up a unique commentary on one finding their own peace, happiness, and success, certainly in a more troubled and illegal way, but it speaks to the desperation anyone facing a future of punching a clock can relate to.
The Delinquents is currently playing in select theaters courtesy of MUBI.
[youtube https://www.youtube.com/watch?v=KacoBtvgcT0]
Despite its challenging runtime, and a film that is far more drama than it is heist, The Delinquents offers up a unique commentary on one finding their own peace, happiness, and success, certainly in a more troubled and illegal way, but it speaks to the desperation anyone facing a future of punching a clock can relate to.
Phoenix is a father of two, the co-host and editor of the Curtain to Curtain Podcast, co-founder of the International Film Society Critics Association. He’s also a member of the Pandora International Critics, Independent Critics of America, Online Film and Television Association, and Film Independent. With the goal of eventually becoming a filmmaker himself. He’s also obsessed with musical theater.
