Ezekiel Montes: ‘Dead man does not know how to live’: the crisis also affects drug trafficking | Culture


Cinephilia can offer ideas to make a movie, but that does not mean that they have ideas. Only that it can be collected from here and there, and that, in parts, this work will have the appearance of a cinema, although without depth. On Dead man does not know how to live Ezekiel Montes’s hard-working first feature film shot in Malaga, at whose festival it was presented in its official competition section, there is savage violence, but that does not mean that there is real rawness and blackness. There is a representation, something inherent to the cinema, of course, although pale. And not just about the ferocity and drug trafficking, about corruption and boasting, about drugs and its consequences, but about what is supposed to be all of this in other films.

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You can see that Montes, also a screenwriter, loves Quentin Tarantino and Michael Mann, The Sopranos, Gaspar Noé and even Alberto Rodríguez from Seville, but he wanted to unite everything in the same work without too much identity or entity. Worked and with strokes of good taste, despite the fact that the very low budget turns her story of criminal desolation at the time of twilight, night and life, into a production set in empty nightclubs and streets without people, as if there were no hard money for extras and garnishes, it falls apart in its narrative: cumbersome, with isolated sequences of a certain dramatic power, but without the necessary fluidity between one and the other.

Montes has gathered, yes, a team of performers spectacular in their physical appearance (not so much in the control of their declamation), with some of the great Andalusian actors (Juanma Lara, Manolo Caro, Paco Tous, and the loud voice and the presence by Antonio Dechent at the helm), accompanied by others such as Rubén Ochandiano and Nancho Novo, who again offer some workmanship on the surface that, however, do not fit with a background story made of marquetry and not oak. They talk about the crisis, the brick, of drugs, mafias and loyalty. However, it is only a function, a drill where heads are beaten open (what a bad influence, that of the sequence of the fire extinguisher). Irreversible), but where you end up seeing the doll instead of derision.


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