Three years behind bars or two decades trapped in the same tedious routine. This is the central dilemma in an upcoming drama from Argentine director Rodrigo Moreno. It stands out as one of the few Spanish-language films to contend in Cannes, marking a notable entry from the modern wave of Argentine cinema. The film enters the festival’s most prestigious arena in a distinctive category, with nuanced performances and a provocative premise that invites viewers to question the true cost of freedom. Also highlighted is Felipe Gálvez’s Chilean production Los Colonos, which holds a prominent place as the festival’s second major title. Not part of the main competition, this Spanish-language offering still promises a strong festival presence.
At its core, Moreno’s dilemma — prison or a life of monotonous work — appears to offer a straightforward answer at first glance. Traditional morality suggests crime is never justified, while the film also hints at personal liberation in unexpected forms. Though the concept mirrors familiar themes, it remains timely, resonating with ongoing debates about workweek reforms and retirement ages. The current climate in several countries, with discussions about shorter workweeks and shifts in retirement ages, provides a fertile backdrop for the film’s exploration of how people choose to live when the daily grind becomes heavy enough to demand an alternative path.
The dilemma between work and a freer life
Moreno explains to EL PERIÓDICO, part of the Prensa Ibérica group, that his inspiration came from a 1949 Argentine film about a group of insiders who decide to rob their own assets. The director, now 50, describes his film as a modern echo of those midcentury tensions between security and desire. The two central figures, Morán and Román, are portrayed by Argentine actors Daniel Elías and Esteban Bigliardi respectively, anchoring the story with human stakes and moral ambiguity.
In the older film, the bankers drain the safe to amass wealth. In Moreno’s version, the payday is a lifetime of full pay for the time left before retirement, without extra incentives or gains. The two protagonists opt for a freer, more unbound life that still requires careful planning and clever moves, avoiding the trap of a purely hedonistic escape. Moreno notes that the seed of this idea grew into broader inquiries about work, freedom, and what constitutes a meaningful life. The director’s previous projects, including El descanso (2002), El custodio (2006), and Réimon (2014), echo the same concern with idleness and purpose, but this new work pushes the question into sharper, more contemporary terms.
Play with the laws of classical and genre cinema
Moreno aims to craft a thriller that feels open and existential rather than purely mechanical. The director has previously competed in Berlin for the Golden Bear and has had works featured at Toronto and San Sebastián, illustrating a track record of festival credibility. He expresses enthusiasm for bending the rules of traditional cinema, experimenting with form and genre to keep the narrative unpredictable. The influence of a French new wave sensibility is visible, shaping how the story unfolds and how suspense is built through unconventional choices.
Moreno is drawn to the ideas put forth by Cahiers du Cinéma, a former touchstone for how filmmakers reinterpret classic cinema. He emphasizes language in filmmaking and embraces repetitive techniques that modern cinema uses to create a distinctive rhythm. He argues that the cinematic language should be refreshed and kept alive, especially when it serves political and social purposes. His aim is to justify his approach by tying it to broader meanings and values, rather than simply orchestrating spectacle.
What emerges is Argentine auteur cinema inflected by a new wave sensibility. On the surface, the film may seem rich in stylistic bravado, yet it refuses to be merely ostentatious. Instead, it leaves room for wit and humor, making the long journey feel rewarding rather than arduous. Moreno describes his goal as inviting audiences to spend three hours engrossed in the film rather than reaching instinctively for a mobile device. The quest for freedom becomes the throughline through the characters’ choices and the obstacles they must navigate on screen.