SECUESTRO EXPRESS
Venezuela, 2004, 80 minutes, Colour.
Mia Maestro, Jean- Paul Leroux, Ruben Blades, Carlos Julio Molina, Pedro Peres.
Directed by Jonathan Jakubowicz.
Already the most popular Venezuelan film at the country’s box-office – and criticised by the government for giving a wrong impression of Venezuelan society and Caracas – this is a film which is on the move. Shot with a digital camera, giving the director almost limitless fluidity, and edited with jump cuts which increase the pace, this is a grimly exciting picture of the rapidly increasing feature of some Latin American countries, abductions. (For some American versions of this theme in recent years, try Proof of Life and Man on Fire.)
The action (only 80 minutes) takes place over a few hours. A gang who resent the wealthy middle class go out on an early morning reconnaissance to choose a victim. They pick the couple that the audience has been watching. He a playboy with a taste for cocaine, she a volunteer at a child centre (and not against the drugs either). The abduction is comparatively easy and phone calls are made to parents with demands that are not too outlandish. (A complication does occur when the man goes to retrieve some cash and someone tries to rob him. A gun solves the problem.)
The abductors are on edge and are prepared to mistreat and abuse their prisoners. There are some further complications, especially in the behaviour of the man, which we do not expect. The girl (Mia Maestro) survives the day but is put in final danger after being found by police who seem almost as corrupt as the abductors.
Ruben Blades and Mia Maestro are the only professional actors. The non—professional cast worked in rehearsal for six months to achieve the level needed for this film.
The behaviour is ugly and would put fear into any potential visitors to Caracas. Nobody is really good, so this is a grim picture of a current phenomenon made with great visual flair and pace.
1. A significant film for the Venezuelan film industry?
2. A brief film, over a 24 hour period, hand-held camera and a sense of immediacy? Audiences interested in the crime, identifying with the people abducted?
3. The title, abduction express? The prevalence of abductions in Latin America at this time? A cautionary story? Audiences wary about a visit to Caracas?
4. The basic plot: the couple, the criminals, the capture, the violent treatment, contact with the father for ransom, the behaviour of the criminals, the effect on the couple, going to the bank, the attempted robbery, the use of the gun? The father, the contact with the money, the release of the daughter? The arrival of the police, their violence, would-be rapists?
5. The plausibility of the plot, the establishing of the character of the couple, his wealth, drug use, her social work, also the use of drugs? In the vehicle, outside the club? The characters who did the abduction, their social background, poor class, criminal class, motivations, use of violence?
6. The gap between the wealthy and the poor, social advantage or disadvantage, this underlying theme?
7. The character of the couple, the attention given to each of them, before the abduction, their relaxation, together, the experience of the violence, the treatment, the uncertainties, over 24 hours?
8. The character of the criminals, the leader, each and his use of violence, threats, watching, slapping faces? The visit to the bank and the attempted robbery? The violent criminal and the possibility of rape? The leader and his controlling him? The dealings with the father? The release?
9. The details of the time of abduction, step-by-step, almost documentary-like?
10. The finale with the police, the credibility of this development, the critical comment on the role of the police and their behaviour?
11. A taut thriller, on a topical subject?
