This has got to be one of the most powerful movies I've seen in a long time. Like most movies, it's best that you go into this one without even having seen the trailer (in my opinion, even though it doesn't spoil anything really, it still gives away too much). It deals with journalist Manolo Bonilla (John Leguizamo) and his two-headed crew on the trail of a child-murdering serial killer in Ecuador (refered to as the Monster of Babahoyo). At the same time, bible-salesman Vinicio accidentally runs over a little kid with his car and ends up in jail. Manolo sees this opportunity as an extra story, and decides to interview the man. When he does, he finds out one or two things related to the child-murders. To uncover the truth to the matters (as well as getting the story of a lifetime), Manolo will stop at nothing...
The foul, hot and steamy Ecuador settings used throughout the movie are as unsettling as they are dominant. After the little prologue, the real opening-scene is extremely hard and uncompromising. After having hit (and killed) the kid with his car, a raving mad crowd tries to lynch Vinicio. They kick his face to a bloody mess, and even set him on fire... until Manolo and his crew intervene. After that, you just know that the movie will not hold back on disturbing and shocking subject matter. And it's not really that there is more on-screen violence or bloodshed in the rest of the movie. It's just that the subject matter is so alarming and the truth to the matters is severely disquieting.
The cinematography is excellent. Often hand-held cameras are used, to re-create some sense of realism, but it still looks very stylish and it always feels like a real film (so no documentary-style of filming here). The soundtrack is also worth mentioning. Music isn't over-used in the movie, but when it's there, it strikes the right chords or just provides a welcome pause to breath. Because at some times the events in this movie are so compelling that they nearly suffocate the viewer (which is, of course, intentional). Sebastián Cordero clearly is a gifted film-maker, since he established a look & feel for this movie that worked effectively. Some shots of the city and landscapes (though not very numerous in the movie) look beautiful. But also during conversations, Cordero chooses his angles carefully. I was pretty amazed on how good he could make it all look with hand-held cameras (kudos also to cinematographer Enrique Chediak, of course).
But the best thing about CRÓNICAS must be the story itself, and the way it is set up. However, around the one hour mark, the movie does slow down a bit. Some might say it's a little flaw in the script, I myself think it's not. To me it was a welcome moment to just slow down together with the movie and think things over. Speculate and re-evaluate. Because even if CRÓNICAS isn't a high-tense, fast-paced thriller about the pursuit and capturing of a villain, it does contain a lot of tension and even nerve-wrecking scenes as well as gruesome images (not likely to be found in other drama movies). The script itself has got a unique approach to it: After about 20 minutes into the movie, the viewer already knows who the main suspect is, and he's even already locked behind bars. Only, the authorities don't know it. The only one who does, is Manolo. But he himself is not sure of it at all. Vinicio knows stuff, but that doesn't necessarily make him the killer. Manolo's ways to uncovering the truth get very manipulative at points, and he, as well as his crew, are just bound to make mistakes... but at what costs? The progress of the story does try to mess with your head because as a viewer you also get the feeling you're being deceived. And even if the story itself, with its mildly convoluted ways, doesn't really get to you, then the ending most certainly will. Because most likely, you will not like how this movie ends. And that is the biggest strength of this film. It's just too damn powerful.
But CRÓNICAS manages to make other points too. The power of the media is severely questioned here. Also whether the end justifies the means. A topic like Ecuador Police Forces being severely under-staffed gets briefly touched too. And in a detailed manner, I believe Cordero even was trying to tell us: Producers just can't be trusted. How all this relates to the story, you'll just have to see for yourself. And let's not forget the extremely capable cast giving excellent performances. John Leguizamo is as decent as can be. So is Leonor Watling, fellow-journalist (and producer's wife) in Manolo's team. Even the whole supporting cast is highly believable. But it will probably be Damián Alcázar, as Vinicio Cepeda (who spends the biggest part of the story behind prison walls), that is most memorable. His performance, and even more, the character he plays will stick with you forever. The man at least deserves an award of some sort.
Because of being such a powerful movie with a compelling story, I can do nothing but strongly recommend CRÓNICAS. But a word of warning nevertheless: Parents who lost a kid in some way beyond their will, should probably better not see this film. It's very difficult subject matter to handle. And people just looking for a feel-good movie to watch, should best run like hell when they come across CRÓNICAS.
The foul, hot and steamy Ecuador settings used throughout the movie are as unsettling as they are dominant. After the little prologue, the real opening-scene is extremely hard and uncompromising. After having hit (and killed) the kid with his car, a raving mad crowd tries to lynch Vinicio. They kick his face to a bloody mess, and even set him on fire... until Manolo and his crew intervene. After that, you just know that the movie will not hold back on disturbing and shocking subject matter. And it's not really that there is more on-screen violence or bloodshed in the rest of the movie. It's just that the subject matter is so alarming and the truth to the matters is severely disquieting.
The cinematography is excellent. Often hand-held cameras are used, to re-create some sense of realism, but it still looks very stylish and it always feels like a real film (so no documentary-style of filming here). The soundtrack is also worth mentioning. Music isn't over-used in the movie, but when it's there, it strikes the right chords or just provides a welcome pause to breath. Because at some times the events in this movie are so compelling that they nearly suffocate the viewer (which is, of course, intentional). Sebastián Cordero clearly is a gifted film-maker, since he established a look & feel for this movie that worked effectively. Some shots of the city and landscapes (though not very numerous in the movie) look beautiful. But also during conversations, Cordero chooses his angles carefully. I was pretty amazed on how good he could make it all look with hand-held cameras (kudos also to cinematographer Enrique Chediak, of course).
But the best thing about CRÓNICAS must be the story itself, and the way it is set up. However, around the one hour mark, the movie does slow down a bit. Some might say it's a little flaw in the script, I myself think it's not. To me it was a welcome moment to just slow down together with the movie and think things over. Speculate and re-evaluate. Because even if CRÓNICAS isn't a high-tense, fast-paced thriller about the pursuit and capturing of a villain, it does contain a lot of tension and even nerve-wrecking scenes as well as gruesome images (not likely to be found in other drama movies). The script itself has got a unique approach to it: After about 20 minutes into the movie, the viewer already knows who the main suspect is, and he's even already locked behind bars. Only, the authorities don't know it. The only one who does, is Manolo. But he himself is not sure of it at all. Vinicio knows stuff, but that doesn't necessarily make him the killer. Manolo's ways to uncovering the truth get very manipulative at points, and he, as well as his crew, are just bound to make mistakes... but at what costs? The progress of the story does try to mess with your head because as a viewer you also get the feeling you're being deceived. And even if the story itself, with its mildly convoluted ways, doesn't really get to you, then the ending most certainly will. Because most likely, you will not like how this movie ends. And that is the biggest strength of this film. It's just too damn powerful.
But CRÓNICAS manages to make other points too. The power of the media is severely questioned here. Also whether the end justifies the means. A topic like Ecuador Police Forces being severely under-staffed gets briefly touched too. And in a detailed manner, I believe Cordero even was trying to tell us: Producers just can't be trusted. How all this relates to the story, you'll just have to see for yourself. And let's not forget the extremely capable cast giving excellent performances. John Leguizamo is as decent as can be. So is Leonor Watling, fellow-journalist (and producer's wife) in Manolo's team. Even the whole supporting cast is highly believable. But it will probably be Damián Alcázar, as Vinicio Cepeda (who spends the biggest part of the story behind prison walls), that is most memorable. His performance, and even more, the character he plays will stick with you forever. The man at least deserves an award of some sort.
Because of being such a powerful movie with a compelling story, I can do nothing but strongly recommend CRÓNICAS. But a word of warning nevertheless: Parents who lost a kid in some way beyond their will, should probably better not see this film. It's very difficult subject matter to handle. And people just looking for a feel-good movie to watch, should best run like hell when they come across CRÓNICAS.