Carancho is directed and part-written by Pablo Trapero whose 2002 film El bonaerense achieved a wide international release. It’s a mainstream crime thriller of the kind that Argentinian Cinema does very well and it stars the most recognisable Argentinian actor for international audiences, Ricardo Darin.
In Spanish, ‘carancho’ refers to various birds of prey and the obvious inference here is to vultures. Darin plays Sosa, a lawyer who has been driven to become in US terms an ‘ambulance chaser’ – someone who waits around for a motor vehicle accident and then tries to grab the business of any survivors or relatives who make a claim. According to some of the promo material there are around 8,000 deaths on Argentina’s roads each year. This is a staggering figure. As a comparison, the UK (admittedly one of the safest places in the world to be a road user) has less than 2,000 deaths from a larger number of road users – but the US is nearly as bad as Argentina. I mention this last point only because there is already discussion of a Hollywood remake.
The plot is fairly basic. Sosa seduces a new young doctor on the A&E team of the local hospital, Luján played by Martina Gusmán. She turns out to be not quite as innocent as she first appears. Sosa is in some ways a classic film noir male character – a good man forced to do bad things. He is trapped by the vicious system which allows crooked legal firms to cream off a fat commission on any compensation claim. He needs to find a way to break away from their stranglehold and this means doing some dirty deeds while still keeping Luján on side. I don’t really like medical dramas – especially the soaps set in casualty wards – and the only film I can think of that has some similar elements is Scorsese’s Bringing Out the Dead (1999), a good film but not very enjoyable to watch. I think I enjoyed Carancho more but I still averted my gaze from some of the gory bits.
The real question is why this film attracted investment from three co-production partners and a slot at Cannes in Un certain regard. It’s a perfectly serviceable thriller, with a downbeat ending, that is very well made but not that unusual/distinctive apart from the originality of the basic premise. I was intrigued to discover that Martina Gusmán was a producer before she was an actor and she is exec producer here. Her presence and that of Darin helps to lift the film, but I’d still put it alongside French polars such as the two Fred Cavayé films Pour elle (2008) and À bout portant (2010), the first of which has already been re-made. Such films have an originality in ideas that Hollywood needs to feed on. What will Hollywood need to change about Carancho? Probably it will need to make the ending more upbeat and the characters less seedy. A studio will also have to find an actor/star who can do what Darin does so effortlessly – sleaze plus sex appeal with several beatings to withstand and that little pot belly. He’s a great role model for middle-aged men!
YouTube trailer for the US market: