A police film began because so many genres had, from the point of view of the Dash Cam. When the radio chat came from and introduced the Mexican city landscape at night.
This is a tight corner for the portrayal of each contemporary police depiction. And Director Alonso Ruizapalacios uses it here to put viewers to sleep into a certain sense of satisfaction.
We thought we knew what we got. “Shipping, 809 – I can confirm that the Z-14 will be asked immediately”. And seconds after the officer Maria Teresa Hernandez has made the call and out of his vehicle.
He is forced by the situation to give a baby. When the Z-14 finally arrived, hours later, the medical officer was indifferent. “Born. What do you expect for us to do now?”
This sequence describes a flawed system from public support and police:
It seems to surround every action in Mexico. Teresa connects to the beginner year at the power of 17 years. Before when blatant grafting and corruption at work looked at him with unshakable hostilities.
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Teresa was heard at Voiceover when he was patrolling; Sometimes, he spoke directly with the reverse Dashcam to face the driver. What’s going on here? And then Teresa violated the fourth wall. When he leaned on the side door the driver of a police interceptor from his Cop Dad Era.
A boxy dodge diplomat with two male officers in it, wearing a vest who was awkward and awkward. This was the night his father was shot in a row of tasks. And at that time, the ambulance never even appeared.
In the next chapter, the film police introduced Jose de Jesus officer Rodriguez Hernandez, who went by Montoya. He took a higher view of his position and litany of bribes and cheated, which was part of the job.
The admiration he felt for his brother, patrolled the streets of Tepito with boots and machine guns, looked far now. Depression grasps it and drinks, but the spirit of self-destruction is damaged by a new relationship that is not possible. Montoya and Teresa are couples. Superior them, half sneer, call it “love patrol.”
At that time, he soyged the form of documentary and dramatic. Film police found another layer of subversion. As Teresa and Montoya attended the police university in Mexico City. And filmed their experience with a cellphone camera. And in the last chapter, with reality and fiction in non-hope without hope.
There is only one fact taken into account. “Police officers are vulnerable in everything. Nothing is guaranteed for us. There is no protection with orders and no protection by citizenship. In the end, corruption does not stop.”
There is a thrilling sequence in the third chapter of the police film:
After Teresa and Montoya have been expressed as a partner, but before other things. The two police won hot dogs quickly when the crime occurred before their eyes. There are no rest or lunch for civil servants and jump out of their cruisers in the pursuit of the foot. As Montoya machine guns cut off the perpetrators.
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The pursement turned on, and we settled for a quick cutting. That was inevitable between the hood that ran for his life and the police diligently gave Chase, their equipment jostled when they called backup.
Teresa even slid across the hood of their police cars, soon maybe in slow motion. Now, it’s some police film, right? Of course, so what does it do in a single camera documentary? Insist, propulsive jazz is built on the soundtrack. I love the patrol pin of a wrong person on the subway before lowering it with a clothesline that never comes.
This is hand magic in the heart of the police film:
The reality of what is noticed by Mexican police officers and their personal lives is illustrated by fatigue in the scope of corruption. That envelops everything, but also with dramatic talent actors at work.
The message of the film – “It is very difficult for people to believe in the police again and if no one cares if a police officer dies” – can be represented in a direct documentary. Such a movie undoubtedly includes many of the same moments described here, from traffic stops for smoking breaks.
But with the meshing of reality and dramatically brave. Alonso Ruizapalacio lends excitement to the trial that confuses viewers. And demands that we stop and think about what is at stake.
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Police films are extraordinary films, hybrid documentaries, and dramas that highlight healthy records of corruption that tarnishes our value system.