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Wasp Network

Drama · History

Wasp Network

Traitors or heroes?

6.1(412) 1/29/2020 2h 8m
DramaHistoryThriller

Havana, Cuba, 1990. René González, an airplane pilot, unexpectedly flees the country, leaving behind his wife Olga and his daughter Irma, and begins a new life in Miami, where he becomes a member of an anti-Castro organization.

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Trailer

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Top Cast

Penélope Cruz

Penélope Cruz

Olga

Edgar Ramírez

Edgar Ramírez

René

Gael García Bernal

Gael García Bernal

Viramontez

Ana de Armas

Ana de Armas

Ana Margarita

Wagner Moura

Wagner Moura

Roque

Leonardo Sbaraglia

Leonardo Sbaraglia

Basulto

NG

Nolan Guerra Fernández

Cruz León

OP

Osdeymi Pastrana Miranda

Irma

Directed by

Olivier Assayas

Production

Reviews

CinemaSerf

5/10

3/27/2022

Given the intriguing story and really good cast behind this, it ought to have been good. It isn't. It meanders all over the place with way too many plots, sub plots and storylines all ambling about devoid of a solid narrative. It could be a six-parter if it wanted to be, but as a single film it just doesn't really gel at all. Olivier Assayas clearly has some skin in the game as he sets out to interweave the political and personal stories of 5 Cubans who end up, by various means, in Florida in the 1990s. Tourist pilot Edgar Ramirez ("Rene") is one of then, who leaves home and stunningly gorgeous wife Penelope Cruz ("Olga") one day, pinches a plane and defects to the US where, together with "Juan Pablo" (Wagner Moura) he is soon part of a network that effectively tries to assist Cuban defect

tmdb28039023

1/10

8/25/2022

Wasp Network (2019) is "based on a true story", but its makers may be looking at reality through 'beer goggles.' For example, there is a character played by Ana de Armas, who regardless of her talent – or lack thereof – reminds me of a young Tiffani Amber Thiessen. During the epilogue, however, we are shown a photo of the corresponding real person, and what we see is a thick, plump, buxom, etc., etc. woman, and there is nothing wrong with it just like there is nothing wrong with de Armas being slender; the problem lies in that the truth is manipulated to make it more attractive to the public. If director Olivier Assayas takes such liberty with a supporting character, how do we know what's real and what's a complete fabrication? In keeping with this pattern, the locations are authentic,

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