Burnt Money

Ian Terz
MCS 143K
Prof. Keith Harris
February 18, 2015

“Burnt Money”, or better known as Plata Quemada is an “intensely erotic”, film by Marcelo Piñeyro an Argentine award winning film director, screenwriter, and film producer. The movie provides us with a questioning assortment of eccentricity and déjà vu. It begins as a sophisticated, elaborate caper picture, which a gang is constructed for a large score that doesn't go entirely follow as intended.
The furies of Plata Quemada’s are as audacious as are the metaphors he practices. Piñeyro has a particular thing for his eye-catching arrangements, and his color arrangement alternating from injured to gory. His appositions provide warmth for the extremity, which isn’t any less applicable for

This despairing, destructive yearning binding Angel and Nene and the erotic trigger the surfaces between Nene and Giselle, and look to be troubles less of psychology than primitive blood sacraments. In relation to praxis, Angel and Nene tend to be portrayed as more exposed regarding their relationship in contrast to Leopold and Loeb. Their relationship was in secret before the murder since there was an anxiety of individually being pushed out or being branded as “the other”. Their goal was to intermingling in as well as possible, and oblige to the slightest of attention of their atmospheres. In comparison to films like Philadelphia or Longtime Companion, the gay male characters in relation to the AID’s

In comparison to Plata Quemada, and a precise decade later depiction of queer movements is outsized. With an even vaster depiction of homosexuality if you were to add another decade, like the very recently released Pride and Love is Strange. Going back to the elaborate scene of sophistication by Piñeyro, the heist comprises of a discredited tango vocalist, an immoral administration official and a alternation of felonious types, but the film's authentic emphasis is on the trio of younger affiliates: Cuervo, the cracked, drug-addicted breakout driver, and Angel and Nene, two gay lovers notorious for illicit rings as the twins. The burglary, where numerous cops were killed, is really a disguise to the preamble, which is Piñeyro's main concern, developing the vivid psychodrama after the thieves escape to Uruguay, spending utmost of their time anticipating for the foreseeable ruthless conclusion. The burglary part of the story eventually withers into the background. I feel like this type of filmography is different than most films since we’re left at a cliffhanger and an entirely new plot, and perspective of character. This transition is unexpected yet in my opinion Piñeyro’s applies his unique and eccentricity to the film very suave. The figure of speech compared to other films differs as to how Piñeyro incorporates a shift in literal implication and non-literal