“Love, loyalty and compassion are for the weak.”
With every heist film, you know there’s a moment when something is going to go wrong. With a techno-heist, a film in which high-tech knowledge is essential to the robbery, the possibilities of exactly when and where things will go wrong are endless. But if the heist itself goes smoothly, then the viewer knows that the deal is going to go belly-up sometime between the robbery and the divvying up of the loot. Perhaps it will be a double-cross. Perhaps it will be some tiny detail, but something somewhere along the way will go wrong. The question is…will the operation be recoverable?
Sultanes del Sur (Sultans of the South) is a riveting Mexican heist film that starts with a smoothly run bank robbery. The gang leader, Leo (Jordi Molla) begins the heist while the rest of the gang Monica Silvari (Ana de la Reguera), Carlos (Tony Dalton who also wrote the script) and Leserio Dominguez (Silverio Palacios) take their positions. It’s all very well thought-out, very well run, and Leo, who’s just a mite too cocky, seems to have all the bases covered.
The heist goes smoothly and the next thing you know, the four thieves are on a plane to Argentina where they intend to change the 12 million dollars loot back into pesos. So far so good….
Leo is clearly in charge here, and it’s when the thieves get on the plane that things begin to seem not quite right. For a start, Leo is keeping a tight mouth about all the plans. Leo and his girl, Penelope Cruz looks-a-like, Monica fly first class while Carlos and Leserio fly coach. And then there’s history between Carlos and Monica, but now she’s Leo’s girl. But is she?
It’s in Argentina when things begin to go horribly wrong….
Sultanes del Sur has a couple of violent scenes–not too terrible but a couple of lingering close-ups I could have done without. There were also a few chase scenes and I am not a fan of this sort of filler, but the story kept me glued to the screen. Yes, the film follows the formula, but it wasn’t predictable. The gang members run into some truly evil characters and are out of their depth fast. This very effectively cut the lark aspect out of the caper and turned the film into something much darker.
A couple of words of some of the shots: in one scene, Leo, Carlos, Leserio and Monica face the hoods who are supposed to exchange the money. The camera then switches angles and it’s the same scene and same characters but from a different angle and a different shot. This was a great shot. Another excellent shot occurs as the plane takes off from Mexico.
The very last scenes in which “all” is revealed was the weakest point of the film as too much info was parlayed in a few quick flashbacks, but overall this was an entertaining crime film, suitably bleak, suitably dark, and once again, long may the Mexican Renaissance in cinema last.
From director Alejandro Lozano