

Drama · Comedy
The Delinquents
Steal back your life.
Morán works as a clerk in a bank in Buenos Aires. He is as good as invisible to his colleagues. Over dinner with his colleague Román, Morán tells him that he stole exactly $650,000, which is exactly double what he would have made until his retirement. He plans to turn himself in, but not before offering Román to split the money if agrees to hide it for the duration of his incarceration.
Trailer
Top Cast

Daniel Elías
Morán

Esteban Bigliardi
Román

Margarita Molfino
Norma

Germán de Silva
Del Toro / Garrincha

Laura Paredes
Laura Ortega

Mariana Chaud
Marianela

Gabriela Saidón
Flor

Cecilia Rainero
Morna
Directed by
Rodrigo Moreno
Production
Reviews
CinemaSerf
6/103/29/2024
"Morán" (Daniel Elías) concludes that his dreary drudge at the bank over the next 25 years is only going to earn him $325k so rather than slug it out, he decides to pinch double that then ask his unwitting colleague "Román" (Esteban Bigliardi) to hide the cash whilst he does his prison sentence. That way, they can both enjoy a pleasant early retirement. The theft all goes remarkably easily and before he turns himself in, our thief goes for a bit of a road trip then goes to the police to confess all and receive the anticipated jail term. After a bit of a rocky start, and the transfer of some "protection" money, his incarceration settles down into something fairly uneventful for "Morán". The same can't be said for his friend on the outside. Though he had a cast iron alibi for the time of the
badelf
9/101/27/2026
(long, maybe spoilers) What does freedom cost when you're trapped in the concrete jungle of late capitalism, shuffling papers in a bank while others profit from your labor? Rodrigo Moreno's Los Delincuentes poses this question through what appears to be a heist film, though calling it that is like calling 2001: A Space Odyssey a movie about astronauts. This is a meditation disguised as a crime story, a philosophical inquiry wrapped in the trappings of genre, and ultimately, something far stranger and more radical: a daydream about escape that may never actually happen at all. The film is probably unnecessarily long. That opening shot establishing the monotony of the work-day grind extends beyond what modern cinema demands; the second half could easily have been compressed into the fina
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