Coming of age, by definition, is the kind a viewer tends to recognize the most, after all, we were all teenagers. It is impossible to pass this stage of life unscathed; During adolescence we usually make our biggest mistakes—the result, in large part, of inexperience, lack of maturity—and have our differences with father and mother, friends, and the world (for the same reason). Having said that, basic consideration must be taken: there are ways and ways to go through the hell of a stage of life ruled by infinity, where one hears in all letters that one is no longer a child, while also taking a long time to become an adult.
Nelson Rodriguez (1912-1980) and Pablo Picasso (1891-1973) were right when they said, each in their own way, that youth is a Greek gift that gives us life. Using the shock of rejection argument, won in the worst possible way, director Daniel Morzon puts at the center of “As Leis da Fronteira” (2020) the never-ending debate about the inadequacy of youth. Adapted from the novel of the same name by Javier Cercas, published in 2012, Morzón follows the path of Ignácio Cañas, also known as Nacho (or Oclinhos), a 17-year-old boy who finds himself surrounded by the impossibility of being like others, in the same the time. He cannot impose himself as he is. Nacho seems to succumb to the idea of serving as a boxing bag until the eternity he has left before he is, in fact, considered a man. In the midst of the whirlwind of feelings that overtake him, the character of the so-called protective angel appears in his life and the girl who accompanies him, with whom he will fall madly in love for the first time, while working in an arcade, at the end of the years .1970.
Nacho, Zarco and Terry, the trio of champions played by Marcos Ruiz, Chicho Salgado and Begonia Vargas, give the narrative the right direction, emphasizing Ruiz’s performance, which is filled with the many gradations that a complex genre like Nacho demands. There’s no difficulty in pinpointing the exact moment when the character decides to put an end to the humiliation routine – as in one of the feature’s opening sequences, where the boy thinks it’s best not to reveal why he drowned – and merges the gang led by Zarco, to which Terry also belongs. An experienced delinquent in Chinatown, the tough suburb of Girona, Catalonia, Nacho now enjoys the protection afforded by thieves, as he begins his career in crime, addiction and experimenting with sex, when he loses his virginity with the character of Vargas, Zarco’s girlfriend. At this point, the most stimulating dramatic arc in “As Leis da Fronteira” begins to unfold, with Zarco unsettlingly relieved in the face of his partner’s harassment of the new outlaw.
The quinquillero, or quinqui, a Spanish subgenre celebrated due to the unfolding conspiracies of criminal acts, became extremely popular between the 1970s and 1980s, precisely where there is a text by Jorge Guerricaechevarría, also the author of “O Bar” (2017)., directed by Alex de la Iglesia. As in the dark humor suspense of 2017, Guerricaechevarría’s work in “Border Laws” features a well-structured narrative, done without trying the rhythm, in which all the characters—including countless supporting characters—have the opportunity to say what they come up with. for him. Still making the difficult transition from a long dictatorship, headed by commander Francisco Franco (1892-1975), between 1939 and 1975, when Franco died, Spain, in the same manner as Nacho, was registered as a nation searching for an identity, with the police not shying away from using torture To extract confessions from suspects, as with Bernas, by Daniel Ibanez, another criminal headed by Zarco.
The reunion of the three of them, about a year after Zarco’s arrest — a sequence in which make-up, one of “As Leis da Fronteira’s” great artistic flaws, becomes inevitable — shows that youngsters may not be all wonders. sung from. Especially when you don’t have attentive parents (and with connections between those who shoot in a world ruled by men who aren’t naive).
Movie: Border laws
direction: Daniel Monzon
Species: Thriller / Drama
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