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Puccio was above the law, and he knew it, resulting in the blood-chilling dynamic Trapero enlisted co-writers Esteban Student and Julian Loyola to help dramatize: While clearly the film’s most sensational element, the crimes themselves represent only a fraction of the film’s focus, as the helmer turns his attention to the fearsome control Puccio wielded over his entire family, most notably his eldest son Alejandro (Peter Lanzani).
Trapero’s ironic use of music ranks among the film’s most unnerving strategies, reminiscent of Spike Lee’s “Summer of Sam,” in which celebratory pop tunes evoke the era even as they practically serve to encourage the horrors depicted onscreen.
By the time we’re forced to watch the Puccio clan abduct their final victim, a 58-year-old businesswoman barely any wealthier than themselves, the inappropriately loud sound of David Lee Roth’s “Just a Gigolo” is enough to trigger violent reactions: We can’t watch the Puccios get away with it any longer. After keeping the woman locked up in a basement cell for 36 days, the city’s Kidnapping Investigations Dept.
finally managed to put the Puccios’ crimes to an end — a “finale” that the film teases from its opening minute and rather incoherently returns to at each time-skipping chapter break, all but canceling whatever suspense we might have felt about where this crime trajectory is headed.
More fascinating to Trapero than the characters’ individual fates (which are ultimately provided via text onscreen) is the question of how Puccio managed to involve his entire family in the rackets.
Argentine powerhouse Pablo Trapero (“Carancho,” “White Elephant”) takes a case so upsetting many refused to believe it was possible and retells it in ghastly detail from the p.o.v.