Violent film dealing with delinquency , robbing , dirty war , drug addiction and other dramatic events . Strong look about youthful criminality and based on real events , including political happenings in Spain from the 80s , being stared by a devoted to crime young who is living in slums . Hard-boiled film about juvenile delinquents , hold-ups and upon prison life where the starring -born in a marginal family- is harassed and humiliated until that fury and revenge emerge . It deals a delinquent nicknamed ¨El Nani¨ (Frédéric Deban who looks exactly like Alain Delon) , at the beginning he carries out a violent heist at a mall , after a frenetic car pursuit is detained . But Nani is chased and locked-up , accused for robbing , being led to Carabanchel jail . In prison is harassed by other inmates but he gets independence using his violent means of auto-defense . Later on , thanks to a bail he is freed and forced into street hustling and ever-expanding life of crime . Nani again hang out with his wife Lola (Eulàlia Ramon) and their child . Nani forms a criminal group with José Gálvez (Pedro Carrión) and Teo (Chema de Miguel) and execute heists in San Sebastian and León . They join forces with Richard (Fermí Reixach) , the jeweler Molero (Miguel Angel Salomon) along with El Marques and his wife (Yolanda Farr) who plan their armed robberies . All of them become involved with a high state power : the police command run by Manuel Soto (Albert Vidal) . Both of them scheme and carry out robberies to earn money in and around Madrid . As the trio of robbers attacks jewelries but the events get worse . With the change of government : power raising Felipe Gonzalez (1982) , the Socialist Interior Minister calls for more police control in jewelry robberies and stolen merchandises are located . The film was released in April 1988 , before the judgment of the Madrid Provincial Court in which sentenced three police officers to the disappearance of Santiago Corella .
This is mediocre look at delinquency and policy abuse , including shocking and dramatic ending . The film shows the widely dark police and underworld business , as well as the impunity of the security forces to crimes they commit themselves . Inspired by an actual case , giving a realistic look at delinquency world and life behind bars in ; however , the police events result to be imaginary and excessive . The best part is narrated into prison because of it reflects the astonishing existence of the convicts , with threats as well as violence and where rules the strongest's law . ¨Matar Al Nani¨ is one of several movies dealing with youth delinquency in Spain during the 70s and early 80s and it belongs to ¨sub-genre Quinqui¨ along with ¨Perros Callejeros I and II¨, ¨Perras Callejeras¨, ¨Los Ultimos Golpes Del Torete¨, ¨Yo el Vaquilla¨, mostly realized by Jose Antonio De La Loma , ¨Navajeros , "Colegas", "El Pico " , and especially ¨Deprisa , Deprisa¨ by Carlos Saura and later on , ¨La Estanquera De Vallecas ¨ , among others . Most films mixed exploitation , nudity , violence , with asocial commentary . Drugs , delinquency , terrorism and generational problems are the habitual themes in this genre , and specially dedicated to the underworld of heroin . Seen today , these films are unique documents on how life was lived and perceived during that period . These flicks were notorious in the years of the Spanish transition to democracy including provoking and polemic issues and played by unknown young people . They still have the gritty edge , the naturalistic approach and the poignancy that made them successful at the time . At style is pretty much urban and realistic as well in the atmosphere as in the fresh happenings . We see their troubles growing in such streets , neighborhoods and some fine locations . These flicks show the ugliness of those "barrios" , toughness and cold existence of the humble people , including great looks at young life and friendship in the margined side , letting the stories flow efficiently and being realized in realistic style . Passing of time hasn't had mercy with most of those movies , but they represented a time and a way of life in history of Spain ; and now they may seem a little bit naive . ¨Matar Al Nani¨'s screenplay written by prolific writer/director Vicente Escriba is such strong with disagreeable events , but it has not fidelity , neither accuracy , with events distortion and twisting deeds , spreading brutal tortures , including : hitting , punches , hanging , kick-ass and many other things . Filmmaker Bodegas chose young and natural actors who play middlingly their parts , unafraid of filmmaker's unsympathetic camera and the particularity of the characters . Atmospheric photography with juicy atmosphere by Fernando Arribas deemed to be one of the best Spanish cameramen .
The film was regularly directed by Roberto Bodegas with some flaws and gaps . In this work he shows how thin is the line between contention and excess , between drama and exploitation . Here Roberto attempted to take a position in favor of outcast people . Despite the expectation created among the population by the "Case Nani" is reflected , the film failed to attract a large number of spectators . Bodegas is a talented Spanish movies director , he began working in cinema in 1971, though he became notorious in the years of the Spanish transition to democracy with peculiar comedies called ¨3ª Via¨ , such as : ¨Españolas En Paris¨, ¨Vida Conyugal Sana¨ , ¨Los Nuevos Españoles¨ and ¨La Adultera¨ . His best film was ¨Libertad Provisional¨ stared by Concha Velasco .
This is mediocre look at delinquency and policy abuse , including shocking and dramatic ending . The film shows the widely dark police and underworld business , as well as the impunity of the security forces to crimes they commit themselves . Inspired by an actual case , giving a realistic look at delinquency world and life behind bars in ; however , the police events result to be imaginary and excessive . The best part is narrated into prison because of it reflects the astonishing existence of the convicts , with threats as well as violence and where rules the strongest's law . ¨Matar Al Nani¨ is one of several movies dealing with youth delinquency in Spain during the 70s and early 80s and it belongs to ¨sub-genre Quinqui¨ along with ¨Perros Callejeros I and II¨, ¨Perras Callejeras¨, ¨Los Ultimos Golpes Del Torete¨, ¨Yo el Vaquilla¨, mostly realized by Jose Antonio De La Loma , ¨Navajeros , "Colegas", "El Pico " , and especially ¨Deprisa , Deprisa¨ by Carlos Saura and later on , ¨La Estanquera De Vallecas ¨ , among others . Most films mixed exploitation , nudity , violence , with asocial commentary . Drugs , delinquency , terrorism and generational problems are the habitual themes in this genre , and specially dedicated to the underworld of heroin . Seen today , these films are unique documents on how life was lived and perceived during that period . These flicks were notorious in the years of the Spanish transition to democracy including provoking and polemic issues and played by unknown young people . They still have the gritty edge , the naturalistic approach and the poignancy that made them successful at the time . At style is pretty much urban and realistic as well in the atmosphere as in the fresh happenings . We see their troubles growing in such streets , neighborhoods and some fine locations . These flicks show the ugliness of those "barrios" , toughness and cold existence of the humble people , including great looks at young life and friendship in the margined side , letting the stories flow efficiently and being realized in realistic style . Passing of time hasn't had mercy with most of those movies , but they represented a time and a way of life in history of Spain ; and now they may seem a little bit naive . ¨Matar Al Nani¨'s screenplay written by prolific writer/director Vicente Escriba is such strong with disagreeable events , but it has not fidelity , neither accuracy , with events distortion and twisting deeds , spreading brutal tortures , including : hitting , punches , hanging , kick-ass and many other things . Filmmaker Bodegas chose young and natural actors who play middlingly their parts , unafraid of filmmaker's unsympathetic camera and the particularity of the characters . Atmospheric photography with juicy atmosphere by Fernando Arribas deemed to be one of the best Spanish cameramen .
The film was regularly directed by Roberto Bodegas with some flaws and gaps . In this work he shows how thin is the line between contention and excess , between drama and exploitation . Here Roberto attempted to take a position in favor of outcast people . Despite the expectation created among the population by the "Case Nani" is reflected , the film failed to attract a large number of spectators . Bodegas is a talented Spanish movies director , he began working in cinema in 1971, though he became notorious in the years of the Spanish transition to democracy with peculiar comedies called ¨3ª Via¨ , such as : ¨Españolas En Paris¨, ¨Vida Conyugal Sana¨ , ¨Los Nuevos Españoles¨ and ¨La Adultera¨ . His best film was ¨Libertad Provisional¨ stared by Concha Velasco .
