Tracing its origin back to the annals of Argentine cinematic history, the narrative journey of ‘The Delinquents’ is much like a layered odyssey that spans multiple eras of filmmaking. According to its architect, the acclaimed director Rodrigo Moreno, the genesis of this formidable project harkens back to a past invitation he received to reimagine a classic film. During a video interview from Los Angeles, Moreno shared insights into the evolution of his seventh directorial venture, ‘The Delinquents’.
The proposition to remake ‘Hardly a Criminal,’ a relic of Argentine silver screen from the 1940s by Hugo Fregonese, presented itself to Moreno when he was just beginning to carve his niche in the industry. Despite his fledgling status then, having directed only two films, Moreno found himself unable to align with the remake’s glorification of monetary heist for a life of opulence. “I am not interested in money or a luxurious lifestyle,” he admitted, thus abandoning the project. Yet, this forsaken opportunity seeded an intriguing thought within Moreno, a yearning to connect with the rich traditional period of Argentine cinema.
Years later, Moreno returned to this abandoned terrain with a renewed vision. He reconfigured the protagonist’s motives, portraying a dichotomy akin to a two-headed beast. In ‘The Delinquents,’ we meet Morán, performed with delicate nuance by Daniel Elías, a bank clerk who swindles an amount doubling the lifetime earnings of his employment. Morán orchestrates an elaborate plan, entrusting his accomplice Román — portrayed by Esteban Bigliardi — with the task of safeguarding the stolen bounty while he accepts the consequences and serves his penance behind bars.
Moreno elucidates that Morán is a character enticed not by wealth, but rather by the intricacies of time; work, to him, represents a formidable entity devouring his existence. This thematic undercurrent propelled Moreno to depict a narrative about an individual’s struggle to extricate himself from the clutches of occupational shackles.
The film’s considerable runtime of 180 minutes has stirred discussions, prompting Moreno to draw comparisons with blockbuster giants: “It is shorter than ‘Avatar’; it is also shorter than some Marvel movies.” He defends the length by emphasizing the intricate exploration of the bank heist’s minutiae, the ensuing investigation, and the precious screen time afforded to ancillary players, all of which set the stage for a deeper dive into the film’s core message.
In what seems like an act of cinematic defiance, the second half of ‘The Delinquents’ celebrates the concept of freedom, contrasting the utilitarian use of time against its wasteful expenditure and consequently justifying the film’s unhurried pace. This languid storytelling is meant to steep the viewer in the respite from routine, inviting them to revel in a life released from the pressurized confines of societal expectations.
Although ‘The Delinquents’ did not secure a spot in the coveted shortlist for the Academy Award for Best International Feature Film, the selection of Moreno’s work as Argentina’s representative was a matter of pride, responsibility, and humor for the director. Acknowledging both the honor of his peer’s recognition and the weight of Argentina’s cinematic heritage, Moreno jests about what he considers a delightful ‘misunderstanding’.
Moreno asserts ‘The Delinquents’ cannot be shackled to a single genre. It is a cinematic chimera borrowing elements from heist flicks, existential drama, romance, Westerns, and comedy to forge a singular yet expansive cinematic experience.
The ensemble of ‘The Delinquents’ features familiar faces from Moreno’s cinematic repertoire, with Esteban Bigliardi and Germán de Silva reprising their collaborative roles and the introduction of newcomer Daniel Elías. Moreno’s casting philosophy skews toward an authentic representation of personhood over performance, thereby infusing his films with a raw documentary essence that captures the humanity of his actors.
Now streaming on MUBI, ‘The Delinquents’ emerges as a testament to Moreno’s conviction that a film serves as a live documentary, eternally preserving the present and the authenticity of its characters, whether it weaves fact or fiction.
