Que Dios nos perdone

The idea seems terribly mixed and archetypal in the crime genre. A balding thug in a flowing shirt and a stuttering, sleek intellectual in a suit are searching for a sadistic killer. But Alfaro, despite his reckless fists, is a good guy, while Velarde is a light sociopath, and together they function in a sometimes incomprehensible symbiosis. Rarely do we see such a brilliant script that plays to the classic notes, but handles all the characters and situations in a completely different way than the average viewer is used to. Above all, the theme of the motif of the murder of old women is quite unusual and the director is not afraid to flirt with hints and explicit violence, serving up both exactly when you’re expecting the opposite. It's surprising, daring, and aptly black-humored in every way. From the scene with the abandoned kitten onwards, it then takes on an incredible momentum, which not only doesn't lose its pace when the cards are dealt, and instead multiplies, as the major plot twists happen only "by the way." If something like this emerged on the other side of the Atlantic, it would immediately be considered an "instant classic." I'm surprised Warner Brothers isn’t already shouting rumors of an immediate remake to the world. (19.07.2017)