“堕ちる”
ブロンドの巻き毛に透き通る瞳、艶やかに濡れた瞳、磁器のように滑らかな白い肌―。神様が愛をこめて創ったとしか思えない美しすぎる17歳の少年、カルリートス。彼は欲しい物は何でも手に入れ、目障りな者は誰でも殺す。息をするように、ダンスを踊るように、ナチュラルに優雅に。やがて新しい学校で会った、荒々しい魅力を放つラモンと意気投合したカルリートスは、二人で様々な犯罪に手を染めていく。だが、カルリートスは、どんなに悪事を重ねても満たされない想いに気づき始める―。
AIが作品の魅力を深く読み解いています
製作費: $3,000,000 (5億円)
興行収入: $10,452,324 (16億円)
推定収支: $7,452,324 (11億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Luis Ortega
脚本: Luis Ortega / Rodolfo Palacios / Sergio Olguín
音楽: Moondog
制作: Hugo Sigman / ペドロ・アルモドバル / Leticia Cristi
撮影監督: Daniel Ortega / Julián Apezteguia
制作会社: El Deseo / K & S Films / INCAA / Underground Producciones / Telefe / TVE
Lorenzo Ferro really does deliver well here and is pretty convincing as the curly-haired, butter-wouldn't-melt, Argentinian lad (Carlos) who at the age of seventeen already had his parent's piano stuffed full of ill-gotten pesos. His childhood within a respectable family suggested nothing out of the ordinary til he went to school and met the charismatic petty crook Ramón (Chino Darín). He is infatuated, and there's pretty much nothing he won't do to get and keep his new friend's attention. When that starts to involve his having access to guns, and cars and drugs... The rest of the film is creatively augmented historical fact as this young man discovers violence is a route to riches and success, and that leads to killing and that - well the rushes of blood to the head are addictive. You really could imagine the character delivering the communion wafers on a Sunday and smiling at the babies, yet he was really far more adept with a pistol at eyeball range. His apprehension itself only served to further fuel his desire for acclamation. The media had him on every front page and every television station. He even manages to escape - but that, too, seems little more than a publicity stunt. The production is a bit rough around the edges; the attempts to imply some sort of sexual fluidity to Carlos don't work so well, and there's too much dialogue but Ferro's performance as man for whom taking other lives meant nothing was, I felt, quite sociopathically engaging.
