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  • I won't rehash the details again, as so many previous comments have done wonderful jobs on discussing the plot and technical aspects of this film.

    I want to commend the leads on their brilliant job. Often when (male) actors are asked to "play gay" you get an overly sexualized relationship - as though they feel the only way to portray the connection between men is through overt lust.

    The director and actors here, have instead sought out a more subtle, but infinitely more honest portrayal. Every touch and sidelong glance between Nene and Angel just burns with intimacy. They might have the least on-screen sex, but this is the relationship that you really believe. The actors truly seem comfortable with their bodies, with touching one another, and so whether they are touching or just looking at each other - you can feel that familiarity they share and the intimacy translates beautifully onto the screen. Really an amazing performance of body-language.

    My one complaint about "Plate quemada" is the rather shoddy subtitles. I can understand enough of the language to be able to pick up when the sub's aren't direct, or are leaving out dialogue. I HATE that. In a film such as this, when so much of the plot depends on the characters and their relationships, it becomes agonizing not to know exactly what they're saying.
  • Warning: Spoilers
    Burnt Money is a love story, alone in its conquest for equality in the Latin American setting of 1965. At the center are two men, Angel and Nene, characters sharing an extraordinary bond of love, implicit in two ways: one, in that their sexual identity is repressed, and two, that the viewer never witnesses sex in its explicit form between the two. The two struggle to understand just where they fit: Nene, taking in his sexual company a lonely prostitute, and Angel, grappling with Nene's apparent refusal of him by shooting up heroin, nearly dying as a result of his amorous devotion. In a nod to Hollywood cinema, Marcelo Piñeyro focuses on the action just as much as he focuses on the relationship of two men, who call themselves Los Mellizos, or the twins. Like its name implies, Burnt Money appears to signify loss, or losing the value of something or someone. Marcelo Piñeyro suppresses the explicit relationship and the erotic routine from the viewer's eyes. It's almost as if he himself wants to break away from the tradition of thinking that gay love is always overtly evident. Scene after scene, the incredible excruciation of being in love is honorably, even horrifically evident, such as in the scene where Nene tenderly takes to the bullet in his lover, Angel's side; whose agonized screams are shrill as well as painful. Burnt Money is a movie that society should be interested in, because it shows how first impressions are almost always incorrect. By the end of the movie, the audience realizes for itself how living in a materialistic culture affects their understanding of the film. This movie is not for the viewer with a preconceived or pessimistic notion of homosexuality, or one who is easily turned away from overt sexuality, as it appears elsewhere in the film. It's inconceivable to think of a love surviving amidst chaos, yet explicitly evident by the film's conclusion are two characters gleefully and explicitly demonstrating their devotion; a scene where the two burn the money that they stole, and that which their pursuers are after.
  • Burnt Money, a provocative, severe crime thriller from Argentina, begins like a Spanish- language Guy Ritchie narrative, with an assembly of criminals arranging a heist. Yet the heist is over in a glance. The lion's share of the story is the impact of the job. So much of this film seems already acquainted, from its appealing crime thriller stylization to its narrative echoes of Reservoir Dogs, Heat and Bonnie and Clyde, that when it takes one of its unprecedented turns it overcomes you. There are a lot of unforeseen detours.

    The opening introduces us to Angel and Nene, gay lovers who live in a murky Buenos Aires apartment. A narrator notifies us that they are known as "the twins." After showing how they met, in a grungy public restroom, the narrator distinguishes the one telling way they are similar: "the still eyes, the lost glare." The knifelike center on character relationships, and the novelistic way the story is divulged through sequential narrators, featuring internal monologue, prepares us to pull back to enmesh the "twins" in the heist. Neither they, nor the story, are as they appear.

    Leonardo Sbaraglia plays Nene with scorched vigor. He has the loose-hipped walk of a younger Robert Downey, Jr., yet oozing even more with suggestiveness. His underhanded approach to life is not smug or justified, but rather self-assuredly devoid of any overeagerness or vanity. Eduardo Noriega brings a preyed-upon sentimentality to Angel. We feel at first as if he may be slow, and perhaps to some extent he is, but in a way that is lost in emotionally charged internalized delusions, a return to the primordial dilemma. He seems afloat in dissolution, a dream state readily seen. And their emotional holding out becomes a game that neither wins. Where they are intimate, there is peace restored, and there are religious obstacles.

    The robbery of an armored car goes awry. The thieves, one of them injured, must stay completely out of sight. Law-sided demoralization and violence are initial drives of the story's turning point though not at the center. The film, which is based on a true story, offhandedly concedes that the lines separating cops from robbers are obscured, but its focus remains tight on the robbers.

    One should not write this film off as categorized for a gay target audience. Though it revolves around the two implicitly loving leads, Burnt Money seems to compete with much more vivid heterosexual pairings. Nene swings both ways, and Cuervo, the getaway driver played by Pablo Escharri, has a girlfriend who figures integrally in the plot. After the men flee to Uruguay, police beatings push the left-behind girlfriend to give them up. Their status revealed, the robbers must stay out of sight, pressures mounting. Anti-gay implications add to the enmity. They don't trust each other, everyone keeps a gun at hand, but attachments gradually solidify nonetheless.

    Burnt Money could have almost been made in the 1970s, when a film with the promise of spectacle in its subject matter was almost expected to take the more complex way to the end, no matter what the end may be. And yet the film reaches a climax we've seen so many times. Nevertheless, even in its brutal execution which extrinsically offers not much in the way of variation on a device dating back to the original 1932 Scarface, it maintains a theme of dissolution, a dream state made real to them, of feelings taking over, a theme which, in the end, makes the film its own beast.
  • WOW! Rivetting! The faces of Eduardo Noriega and Lorenzo Sbaraglia fighting and surrendering to their love is pure cinematic art. I left the theatre unable to utter a word. I wanted to revisit their world, no matter how tragic, there was truth in it, twisted, painful truth. PLATA QUEMADA deserves a larger audience. On my second viewing, I forced two friends, who hate subtitles, and are as far removed from the gay world as anyone I know and they loved it. They were seduced by the universe Marcelo Pineyro created for those superb characters to inhabit. More, Mr. Pineyro. More Eduardo and Lorenzo! Bravo!
  • alcyone628 September 2000
    Argentina, 1965. A heist goes wrong. Three men are on the run looking for a place to hide. They find it in Montevideo, they need false passports to leave so they wait day after day until the police come and everything goes apocalyptic.

    The bare facts.

    But the real movie is about the two killers in the gang, El Nene and Angel, called Los Mellizos (the twins). They are not related. They are lovers: two fugitives sharing loneliness and pain, living their lives on the edge. It's the story of a doomed relationship, confined into four rooms where intense passion and violence push the extremes.

    In their hostile world of drugs, cheap sex, prejudice and revenge they have to deal with a feeling born from repression and the fear of naming it. There is, above all, their desperate search for love and loyalty that makes them some kind of tragic heroes in the end.

    Seldom has cinema faced the subject of masculine desire and affection in such a natural, honest and even tender way. For sure a different sight of an action movie and a remarkable piece of acting.

    Worth seeing.
  • rosscinema14 January 2003
    This film is based on a true story and its well acted but I did feel that this film could have been edited a little more tightly as it seems to drag at certain spots. In the middle of the film they're suppose to be laying low and they're are a lot of slow scenes where nothing happens at all. The overall look and mood of the film is impressive as it reminded me a little of "Traffic" and "Reservoir Dogs" with some good dialogue written in the script. Bloody, sweaty and dirty with lots of sex its definitely not a film for the prudish. I thought the last 20 minutes was over the top and not really reflective of what the film really is about. Its like "We'll put in a big gunfight at the end to make it more exciting" when the film really is more about two gay robbers and one is suffering a mental breakdown. This interesting character study had become "The Wild Bunch". I thought it was an interesting enough film but these lapses hurt the overall product.
  • ricbigi26 January 2006
    I cannot forget the images that Marcelo Piñeyro conjured up and was able to capture in this film. Everything, the visuals, the literate script, with its sensitive, sensuous, heartbreaking dialogue, the suspense that does not leave you for a single minute, the violent finale that you expect and still keep hoping it will not happen, the exquisite acting of all the major players, it will all stay with me, forever, I am sure. This is film-making of the best kind: contemporary, mature, it relates to reality but transcends it and reaches a perfectly beautiful, artistic, poetic level. This is also a film that treats a gay relationship with total honesty and truth. The characters have their faults, but none of them has to do with their sexuality. They make, indeed, a beautiful pair, and I wish they would have had a chance to be happy together, somewhere, somehow, at the end.
  • Well-acted, stylish Spanish crime-drama from Ricardo Piglia's book is allegedly based on factual account from 1965 involving estranged gay lovers in Argentina who re-energize their relationship with successful, brutal crime sprees (they call themselves "The Twins"); after one particular robbery ends in gunfire and dead cops, the two go into hiding along with their accomplices in Uruguay. Despite a skittering sort of continuity that keeps a breathless momentum going--at the expense of a well-wrought narrative--the film is highly adept at setting a sweaty, prickly mood. At first, the sexual clinches (which are actually non-sexual, as one partner keeps pushing the other away) are aloof and perhaps a bit self-conscious, but the actors improve along with the film; by the finale, Nene and Ángel really do seem like doomed soul mates, helplessly intertwined. Fascinating on occasion, and handsomely produced, the picture lifts bits and pieces from its American gangster counterparts ("The Godfather", "Scarface", et al.), yet it may be braver than those while digging into the characters' sordid lives. **1/2 from ****
  • BURNT MONEY (Plata Quemada)

    Aspect ratio: 1.85:1

    Sound format: Dolby Digital

    Argentina, 1965: Following a violent robbery on an armored car, two gay lovers - rebellious rich kid Nene (Leonardo Sbaraglia) and borderline schizophrenic Ángel (Eduardo Noriega) - are forced to flee with their accomplices to Uruguay, where they take refuge in a decaying apartment building. Denied sexual favors by Ángel due to his worsening mental condition, Nene takes up with a sympathetic prostitute (Leticia Brédice), leading to jealousy, betrayal and tragedy...

    Based on true events recounted in a non-fiction novel by Argentinian writer/critic Ricardo Piglia, and directed by former producer Marcelo Piñeyro (THE OFFICIAL STORY), BURNT MONEY is a masterpiece. Photographed with noirish intensity by Alfredo Mayo (HIGH HEELS) and underscored by an ironic soundtrack of lazy jazz and contemporary English/Spanish pop songs, the narrative is driven by powerful emotions which explode at regular intervals in outpourings of explicit sex and violence. The sacred and profane are interlinked in various ways (one extraordinary sequence cross-cuts between an act of worship in a Uruguayan church and an unpleasant encounter between Nene and a frightened youth in a public toilet), and the sweaty atmosphere is broken only by an explosive climax where the main protagonists are forced to take responsibility for their actions. Former TV actor Pablo Echarri ("Chiquititas", "El Signo", etc.) plays a younger, headstrong member of the outlaw gang, blinded by youthful arrogance to the danger in which they have all become enmeshed, while Brédice (NINE QUEENS) plays one of the few significant female characters in this otherwise all-male scenario, a brittle creature who falls in love with the wrong guy, with appalling consequences for everyone around her.

    More than anything else, however, BURNT MONEY is a love story, played to perfection by two of the finest young actors of their generation. Spanish heartthrob Noriega forged his career in popular mainstream entries such as THESIS, OPEN YOUR EYES and THE DEVIL'S BACKBONE, while Sbaraglia plied his trade alongside Piñeyro in the lower echelons of Argentinian cinema (TANGO FEROZ: LA LEYENDA DE TANGUITO, CABALLOS SALVAJES). Casting these two beautiful, experienced young men as lovers in a violent true-crime drama could not have been more fortuitous: Their devotions are rarely consummated on-screen (all of the aforementioned sex scenes are heterosexual), except for a chaste kiss at the end of the film, and an earlier, erotically-charged sequence in which Nene tends to a wound on Ángel's shoulder and initiates a sexual advance, only to be rebuffed because of Ángel's mental condition. And yet, Noriega and Sbaraglia are ultra-convincing as the macho thugs who would literally die for one another, and they invest every gesture, every inflection, with genuine romantic chemistry. These guys simply burn up the screen! Look out for the devastating sequence in which Nene 'confesses' to Brédice about his relationship with Ángel, where he describes their mutual affection with heartbreaking emotional candor.

    To his credit, Piñeyro refuses to soft-pedal the dissolute nature of his central characters. But for all its dramatic fireworks and sexual tension, BURNT MONEY is a tale of steadfast devotion, as touching and beautiful as any this reviewer has ever seen. They may be thieves and murderers, but when Nene looks into Ángel's eyes, you know instinctively that their love transcends life and death, and is destined to last an eternity. Not just a great gay film, BURNT MONEY is also a terrific love story, a heartstopping thriller, and an outstanding example of popular Spanish entertainment.

    (Spanish dialogue)
  • It's hard to write about this film, which is evidently based upon actual events, because the story and the characters are confusing. I need to see this again, which I'm sure will help sort things out better, because there are times when I cannot distinguish among the actors--in other words, who's who, and who's doing what to whom. The way the film is cut provides several annoying sequences and hard-to-follow story lines. The sexual relationships in the film are handled very well. But it remains difficult to relate to the characters and their motivations. An altogether unusual film, which hopefully another viewing or two will help me understand.
  • Warning: Spoilers
    I have always hesitated when seeing the DVD at the video store, but finally watched it. The only thing I knew about it was that it was about robbery and a gay couple. I also knew that I was going to see the leads 'behinds', which I thought would at least give me something to be happy about in case I didn't like the movie. My fears were confirmed.

    Having seen the user rating (7.4) and read the reviews posted so far I've concluded that most of grades/reviews must be on behalf of the "real", "not stereotyped", etc. relationship portrayed in the movie. That is true, but that alone doesn't make a movie good.

    I wasn't hoping for action (which in fact is there), but for good characters, for a good, well paced story, something to think about or at least mess with something inside me - good cinema. That didn't happen at all.

    The characters are poorly developed: we get to "know" them through their "thoughts" and the narrator's speech rather than through their actions and expressions, which doesn't help much to make the viewer sympathize with them. Just being gay and hot is not enough to make a -even gay- viewer like with a character, is it?

    The relationship between the three repeats its (poorly developed) pattern throughout the movie. Nene wants Angel, who also wants Nene but feel guilty (the "voices"), and El Cuervo makes fun/gets angry at them for being gay. Then, by the end, during the shooting, it all resolves itself in a cathartic moment: El Cuervo becomes tolerant and even sort of nice, and both lovers make peace shortly before dying. Come on, only because it's a gay couple it's not a cliché?

    And the movie is mostly just plain boring, as if the director was trying to stretch it for no reason with scenes that added not much to the plot and/or character development (and I'm not talking about "meaningful silences" either). Also the abuse of voice-over usually indicates lack of acting/directing skills to give the spoken message in a more artistic way. Plus the voice-over thoughts were sometimes pseudo-poetic and sounded pretentious.

    I don't recommend it unless you're really eager to see a gay couple on screen (and not much more).
  • jotix10014 January 2006
    Marcelo Pineyro, one of the best directors from Argentina, surprises with every new effort. Working on this film with Marcelo Figueras, he also contributed to bring Ricardo Piglia's novel to the screen with unexpected results. The novel was based on a real criminal case that happened in Buenos Aires in the 1960's.

    The two men at the center of the story are gay lovers who happened to be criminals. These two men share a passion that comes across on the screen like no other in recent memory. Angel, the Spaniard, wants to go to New York and Nene, his lover, wants to comply, but first they must attend to the assault of a vehicle that brings money to one bank. During the heist Angel is shot on his shoulder.

    Things are so hot for all the people involved, they flee to Uruguay. This was perhaps a miscalculation, because they are being followed by the Argentine police, that is working with local authorities in apprehending all the criminals.

    Nene is restless. He decides to leave the safe house, and finds Giselle, a beautiful woman who falls in love with him. At this point, we are of two minds, is Nene really cheating on Angel, or is he trying to use Giselle into providing another place where they can hide? The violent end comes in a finale that doesn't have anything to envy to any other movies of the genre.

    The best thing in the film are the two leads. Leonardo Sbaraglia is one of the best actors that have come out of Argentina lately. He does an amazing job in portraying Nene. Eduardo Noriega, is also a Spanish actor that has done excellent work before and he shows his range in a magnificent performance as Angel. Leticia Bredice is Giselle, the young woman in Montevideo who befriends, then fall in love with Nene.

    The film proves Marcelo Pineyro is a voice to be reckoned with and who has an enormous talent for giving his audience his best.
  • Warning: Spoilers
    Spoiler alert! It is execrably unpardonable that when a film casts two Latin Adonis like Leonardo Sbaraglia and Eduardo Noreiga to play lovers and completely passes over their carnal engagement, what makes it more retrograde is that the only explicit sex scenes are heterosexual. OK, it is a film made in the turn of 21st century and depicting a true story taking place in the mid-60s in Buenos Aires, maybe retrograde it what it should be in retrospect.

    El Nene (Sbaraglia) and Angel (Noriega) are two small-time criminals earn the sobriquet "the twins" because they are inseparable (both in public and in private domains), after embroiled into a roadside heist of an armored truck which goes awry, they snatch the haul but Angel is wounded, consequentially the gang of four, including the boss Fontana (Bartis) and the driver Cuervo (Echarri, a boisterous macho type), needs to lie low and subsequently abscond to the neighboring Uruguay, but due to a series of slip-ups, such as the whippersnapper Cuervo fatuously spills the beans of their escape plan to his girlfriend Vivi (Fonzi), the police starts to breathe down their neck and a presentiment of misfortune looms large.

    The relationship between El Nene and Angel is in severe strains even before the hold-up, and director Marcelo Piñeyro is particularly evasive in the reason behind, all it seems is that Angel is perpetually tormented by auditory hallucination, which can be construed as the self-denial of his sexual orientation induced by religion or other unspecific grounds, and he bluntly abnegates any physical intimacy with El Nene, which in turn torments the latter in their extremely restive hiding- out days, partially prompts El Nene to seek refuge in a prostitute Giselle (Brédice), it is hard not to second-guess the incentive behind the reason of parachute a woman into a pair of gay men's impasse at that stage, while the film never ceases from tantalizing its chief demography through the permeating sexual tension, it is a compromising but not improbable gesture to try cajoling a certain squadron of heterosexual males to buy the tickets, but ultimately this tack recoils with a whiff of misogyny and female objectification as libidinous and vindictive.

    Gratefully, the film is redeemed by its final act, the money shot where El Nene, Angel and Cuervo are under siege and boxed inside a tiny apartment fighting to their perdition, a heartening last rebellion to the authority, the unfair world rekindles and consummates El Nene and Angel's unalloyed passion, and we are overtaken by the impact of a powerful tragedy, heroic, gratifying and poignant, all rushing out simultaneously.

    The dyad of Sbaraglia and Noreiga is immaculate in their tendresse-emoting, agony-inflicting two- hander, both spectacularly turn heads in spite of the narrative's noticeable elisions and occasional editing hiccups, the former is both physically and mentally stripped down to the full while the latter has a more abstract demon to battle with of his own accord. The film is very close to becoming a landmark in the queer cinema, for all its emotional honesty and brimming erotic pull, but one must sit back and take stock with a more disinterested eye, BURNT MONEY benefits from a searing backstory and a sizzling central-duo, but its craftsmanship plain errs on the side of disjunction and maladroitness.
  • I was rather disappointed with this film, after the high voter rating. My guess is that most of the high votes came from gay viewers, who were happy to see gay love featured so prominently in a mostly unremarkable film.

    Sure there were some memorable moments. That's why it didn't totally stink. But the film otherwise dragged. If the love had been between a man and a woman, you could say this movie has already been made a thousand times (philandering man with slightly psychotic woman....).

    The action and intrigue are minimal. If you want to see a gay love story (and sure, good acting) you might enjoy this movie. But don't be fooled into thinking its a thriller or an action movie as I was.
  • The relationship between Angel and Nene is one of the most passionate, destructive, uncompromising depictions of love in all its blood-soaked sordidness that I've seen in a long time. These are not nice guys. They are wounded and fierce and protective of each other. So complex a relationship needs time to develop on film and director ,Marcelo Piñeyro, isn't afraid to give it to them. We share the sweltering boredom of their exile, the desperation of Nene's love for Angel and Angel's wordless, psychotic attempts to save Nene. These great actors can say it all in a single look. It is one of the most intensely erotic and romantic film I've seen in a very long time.This is a movie that will stay with me.
  • Burnt Money is an exceptional film in the crime drama genre and stands quite well as director Marcelo Pineyero provides Hollywood with an example of what subtlety can bring to cinema. This film also does its best as a commentary of the internal division between the people and the corrupt government in Argentina, as showcased by the character Nando, played by Carlos Roffe. A few scenes strike out at me for recounting the director's work and it also must be said that the work of the actors that portrayed Nene, Angel and Cuervo was thoughtful and delivered with subtlety to match that of the director's nuanced vision of the world that the trio inhabits.

    Two scenes that immediately jump to mind are those that weave both dramatic long takes with clever use of diagetic sound to create a suspenseful dramatic scene. The two scenes are of the moment that Vivi is captured by the police and the 'relaxing' scene at the beach party with the trio. I enjoyed both of these scenes very much due to the director's courage to use a long take to add suspense. The suspense in these scenes however is not the same as the violent and gore soaked films we call 'suspense', but a more chilling and ominous sense of dread is evoked with the stillness of each scene. There is a moment that both scenes erupt with action, and the music within each scene accentuates the moment that the juxtaposition of mood occurs. Basically the manipulation of music within the scene such as the record being torn off the player just as the party erupts show that the director made disciplined use of all the tools in his arsenal to create a fully imagined atmosphere and mood.
  • ¨Burnt Money ¨ is set in Argentina in 1965 , it has some bank robbers well played by a young trio : Leonardo Sbaraglia as El Nene , Pablo Echarri as El Cuervo and Eduardo Noriega as Ángel and narrator as well . The picture tells the lurid criminal story about a famous South America trio of tough delinquents, who take part in the annals of Argentinian crime history , detailing a mythologized biography . Nene & Angel and their accomplice Cuervo are three antiheroes who go across South American countries robbing banks resulting in three dead policemen and hiding during the 60s . Nene and Angel are well known to everyone , they're nicknamed as "the twins" because of they bear remarkable resemblance , but the two are not brothers at all , as they result to be two homosexual lovers who like really each other . They embark in a criminal rampage participating in a botched bank robbery in 1965 Buenos Aires , when the large-scale hold-up goes wrong , turning bloody .They form a dangerous criminal gang , along with some accomplices . After letting the initial emotions of the situation settle down , then they decide voluntarily to go on but eventually flee from Argentina across the border to Uruguay . Angel is injured and the three must lay low until Angel recovers. They are involved in heists and assaults ; along the way , the group must first wait for Fontana , the brains behind the robberies , to arrange for passports and while being relentlessly pursued by Inspector Losardo : Héctor Alterio . But they're anxious from hiding and again undergoing various criminal activities and other forbidden love stories.

    This violent movie set in the Sixties displays intense drama , a peculiar love story with jealous included , noisy action, thriller and being quite entertaining , though tedious at times . A brilliantly directed movie, this true story follows the tumultuous relationship between two men who became lovers and ultimately ruthless bank robbers then hide out from the police in Uruguay . A groundbreaking film that chronicles the short lives of Argentine's most infamous criminals. It turns out to be a slow and tiring movie, displaying drama , a love story , action, violence and entertaining enough . Despite passable portrayals , the main roles are totally unlikeable , which means you watch as a riveted observer without becoming involved with them or their motives . As the movie is visually decent but ultimately depressing and boring . Based on the dramatic novel titled "Plata Quemada" or ¨Burnt Money¨ by writer Ricardo Piglia with script by Marcelo Figueras and director Marcelo Piñeyro himself , however the adaptation results to be some dull and disjointed . In spite of twenty years from film-making still hold well and remains interesting but overlong . In the wake of the classic movies : Bonnie and Clyde or Wild Bunch, in which a criminal group is pursued and really besieged , the flick is plenty of grisly violence including an extremely thrilling ending , adding strong sex scenes , complemented by steamy homosexual relationships that were extremely polemic at the time . In fact , due to the non-condemnatory treatment of homosexuality , the film was banned in several South American countries . Here stands out the great and young actors participating in this peculiar thriller : the Argentinean Leonardo Sbaraglia (Carmen , En la ciudad sin limites , the Spanish Eduardo Noriega (Open your eyes, El Lobo) in one of his first roles in Latin America, Pablo Echarri (El método, El elegido, Al final del tunel) and two gorgeous women : Leticia Dolera and Dolores Fonzi's debut.

    The motion picture nicely photographed by cameraman Alfredo Mayo , was slow but compellingly directed by Marcelo Piñeyro . He was born in 1953 in Buenos Aires, Argentina . Marcelo usually works with his fetish actor , Leonardo Sbaraglia . Piñeyro is a director and writer, especially known for Plata Quemada (2000) and Kamchatka (2002) and , of course , El Método or the Method (2005) . Marcelo has directed the following films -being most of them dramas and thrillers- : 2009 La Viudas de Jueves , 2003 Kamchatka , 2000 Plata Quemada or Burst money , 1997 Cenizas del Paraíso , 1995 Caballos Salvajes and 1993 Tango Feroz . Rating : 6/10, acceptable and passable.
  • B2410 May 2003
    Warning: Spoilers
    Because of a relentless linearity in the plot, it would be impossible to comment on "Plata Quemada" without creating spoilers. Viewers need to realize that fact at the beginning before reading this or indeed any review.

    What one has here is classic tragedy played against the background of an inherently tragic reality. Although most reviewers tend to cite analogous story lines from films like "Bonnie and Clyde," "Scarface," or any one of several films based on the Leopold-Loeb case, that line of thinking leaves one with less than meets the eye. We know from the start where this thing is going, so one may fairly discard any pretension of suspense and concentrate instead on character portrayal and other broad strokes of the cinematic artist's brush.

    This is, in short, a brilliant film whether or not it "goes" anywhere or stumbles on the way. The acting and direction are at worst very respectable, the editing competent, and the visuals and soundtrack really take the breath away. But the centerpiece of it all is how a time and place are captured as representative of decadent society, and how the redemptive power of love can infuse human existence even within such a violent milieu.

    Cry for Argentina, indeed! The tragedy of Nene and Angel is all the more poignant in that their attempt to flee comes at a time just prior to the imploding of that sad country. Their ascent into self-realization contrasts boldly with the broader descent of social and political institutions that had failed them. It is easy to quibble that their own characters are flawed; such flaws are, however, the very essence of their humanity. Even the otherwise despicable Cuervo is ultimately revealed as worthy of that simple recognition.

    In short, it is no wonder that Los Mellizos are legend. Whether the film lives up to its claim of being fundamentally a true story is really beside the point. Score 10 of 10.
  • nicolas-prandi23 May 2011
    This film tells a story, based on true events from 1965, about three men who steal seven million dollars and then flee to Uruguay together with a fourth man who runs the show from a distance. The men end up having to hide out for a much longer period of time than they expected and therefore grow a bit desperate as they face different conflicts with themselves and each other. The story is very interesting and suspenseful throughout, with some instances of comedy which lighten the serious mood that develops at times. The dialogue between the three men is very irregular as it switches from intense anger to silly comedy and even passionate love within seconds, therefore keeping the audience very unsettled and confused at times. Whilst being interesting, the story many times might make one uncomfortable as it deals with various issues, such as homosexuality and sex, which are seen through a raw lens which is not commonly used in most movies. The main issue of the robbery seems to dilute as the movie goes on, and the focus switches to the men's sexual insecurities and desires. Although this was a bit too much for my viewing preference, such issues as shown in the film are present in the world today.
  • I wasn't excepting anything special before I started to watch "Plata quemada". I just knew that it was an Argentinean movie and it has won the Goya price. Only good movies win this price. After the beginning of the movie (the underground scene) I thought that it would be another stupid gay romance. Later, step by step, the movie became more and more interesting. Great plot, excellent actors (and actress), wonderful music. As one of the IMDb users says, Eduardo Noriega's acting is similar to the River Phoenix's one. For example in "My private Idaho". Who knows if his voices were symptoms of mental defect or small epileptic fits etc.? When the movie was ending I was thinking that it was one of the best movies I had ever seen. But when appeared the information that it was based on a true story my breath was taken away. Next half an hour, I was not able to do anything, except to think about the movie. I reacted this way just when I had seen "Dancer in the dark". It is not one of the best movies I have ever seen, but the best one ever.
  • bluebonnet080524 August 2022
    Warning: Spoilers
    I tried to watch this film through a straight white man's lens, but I couldn't seem to wrap my head around it...

    An internationally co-produced flick, "Burnt Money" tells a story of a macho homosexual gangster couple under the veneer of partners in crime, dubbed "The Twins," in Argentina. While their relationship witnessed a decline, they were hired for a robbery, along with another young thug. They, however, made a mistake during the mission, which led from one fiasco to another and finally a tragic ending.

    This film is indeed queer, both figuratively and literally. The protagonist did love his boyfriend, but had to cheat on him because he had been coldly shunned by him due to the boyfriend's mental condition and religious beliefs. On his way, he even satisfied his needs with a woman. There's actually no justification for infidelity, but his actions were understandable. We are born with desires. Caging them proves nothing in a relationship on the verge of breaking up. The man may have his way with other people, but throughout the movie, his love for the mentally unstable lover remains intact. After all, love and sex are different concepts.

    What marred me was the straight sex scenes. It was certainly a film with gay main characters, but other than some homoeroticism and chaste kisses, there was nothing more between the leads. I know I may sound like a teenage girl going crazy for some BL stuff, but this level of straightbaiting is somewhat ridiculous and unacceptable. Remember that loving, hetero-friendly poster of "Brokeback Mountain"? Yuck.

    What's funny is that the main character said he "turned gay while in prison," and in another scene, he lied that his homosexuality was just a "phase" to the hooker who previously pointed out that he loved men. It then became clear that he just took advantage of her for his and other accomplices' sake. Some might say he did it both ways, but his sexuality was of no importance as the story went on.

    Knowing the setting of the story, it didn't end well, well, as it should. They were bad people after all, and considering their intimacy, the writer(s) would never let them live (though this film was loosely based on a real event that happened during the 60's.)

    I do love me some ill-intended queer characters. We saw bad gays in such films as "Rebecca" (1940), "Swoon" (1992), "Our Paradise" (2011), just to name a few. These characters were all crookedly unabashed and uncompromising with their wrongdoings. Sometimes I think we need more of these than just sympathetic or happy-go-lucky queer stories. Cinema is for entertainment, isn't it? But are we romanticizing bad people through cinema? I don't know; it is up for another debate though, yet it's interesting to me at least.

    I remember watching a gay kiss compilation on YouTube featuring a scene of this film, in which the protagonist were tending to his lover's wounds. The cut was homoerotically charged yet tender, and I'm a sucker for it. When I saw the trailer I flinched a little bit to be honest because of, erm, the straight sex. Either way, I was equally thrilled for the whole story, so it was bookmarked.

    7/10.
  • Warning: Spoilers
    This is an Argentinean version of "Bonnie & Clyde", and more appropriately, "Dog Day Afternoon" with excellent acting from all and sexy tango music. Unfortunately, those qualities are not enough to raise the overall quality of the film from a middling level. For me, there are two major problems. One is the meandering aimlessness of the plot. Given that this is based closely on real life events, so we are told, there really isn't much that can be done if the filmmaker chose not to dramatize the facts by taking some artistic licenses. The other is the relationship between the "twins". Many reviewers mentioned the "passionate love" between them and I just don't think the movie has shown us the reasons. All I see are two psychotic murderers with no conscience in an unhealthy codependent relationship. As much as I want to like those two antiheroes, they are just too unsavory and unsympathetic for my taste.

    The movie starts w/ them not being able to be intimate because of Angel's problem and by the end we still don't know what snapped in Angel except that he is loco, literally. No doubt, the only reason why they are so devoted to each other is because they are both certifiable and so they understand each other. Well, that just doesn't make me feel any more resonance for the characters. So, we are just told they love each other so much they will die for the other and to accept that without showing any reason why that is so just does not cut it. Toward the end, I was praying the police would just come quickly and kill them all to get it over with. That's not good for a movie. Many of the choices they make as criminals are reckless and plainly stupid. They might have got away with the loot had they use their brain just a little. Of course, it is a true story and that was how it happened so that is not the movie's problem. The fact that it doesn't delve into the psychological underpinning of the twin's love for each other is.
  • An excellent movie where everything is beautiful - from the crumbling, claustrophobic backdrops of the antagonists' hiding places, the actors and the background music.

    Besides showing an unusual homosexual relationship, the film also questions the relationship between sex, love and violence - even when the main characters turn "straight" violence and death hang in the air, with scenes sex often interspliced with those of death and agony.

    More importantly, you can't help but feel sorry - and yet almost envious - for the doomed (and did I mention beautiful?) lovers as they slide towards their inevitable end, just for the incredible passion they have for each other.
  • This wasn't a bad movie, nor was it outsstandingly good. On the other hand, it held our interest. I kept wondering why the principal characters always wore suits and ties, when others around them did not. Probably worth your time and effort to watch.
  • What happens when you don't pay the editor? This kind of disjointed storytelling. While some of the performances were good, the movie suffers from poor plot development and a very confusing timeline. A shame, because it starts off quite good, then slows to a crawl and the interest peters out. You spend the last 2/3 of the movie trying to figure out what the heck is going on. Nice try, but no cigar.
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