Tarde para la ira sinopsis

The fury of a patient man ending explained

Once at home, Curro has dinner with his family and tells them that he is going to see if he can get a job in a workshop. Afterwards, he goes to bed with Ana, although while they are making love he notices her cold and asks her what is wrong, getting angry and asking her if she loves him. She, crying, tells him that she loves him very much, and he asks her why she is crying, telling her that it is strange for her to be at home, as she is used to being alone.

Soon, in the games of mus Juanjo will be Curro’s partner, getting angry with José when he beats him and getting violent, and everyone has to try to calm him down, including Ana, whom Curro violently asks to shut her mouth.

Shortly after Curro goes to the hospital and enters the room where José’s father is, and when he arrives he goes to him violently and asks him what is going on and why he has Ana’s phone.

He tells him that the man in the bed is his father and that the woman who died in the jewelry store was his girlfriend, asking him who did this to them, and Curro replies that he knows nothing, although José insists that he tell him if he does not want something to happen to his family.

Cold pursuit

The film is the story of revenge. As simple as that, as hard as that. A revenge with all its possible consequences. A free study of the use of violence in our times, of how that violence only begets more violence. Afternoon for rage’ at times seems like a western. How many westerns start from the same premise? The Bravados’ (‘The Bravados’, Henry King, 1958) comes to mind, an impressive film about revenge, the memory of which came to mind while watching the film.

The script, by the director himself and David Pulido – jokes could be made about the surname and the work in the film -, shows us a first sequence with Curro (Callejo) waiting in a car. The camera does not leave the car, located in the back seat, even in the subsequent escape. The memory activates that summit of Film Noir entitled ‘The Gun Crazy’ (‘Gun Crazy’, Joseph H. Lewis, 1950) in which H. Lewis did the same with the camera. There it had an ethical/aesthetic sense. Here it seems to be done simply because it is.

Marismas

De vez en cuando, el cine español ofrece un thriller sucio y bellamente compacto que es auténticamente español y no una imitación de los modelos estadounidenses. Ejemplos de ello son La noche de los girasoles, de Jorge Sánchez-Cabezudo, y 25 kilates, de Patxi Amezcua; más recientemente, está la obra de Alberto Rodríguez. A este augusto pero infravalorado panteón puede añadirse ahora La furia de un hombre paciente, de Raúl Arévalo, un thriller de venganza melancólicamente intenso que refleja la excelente y melancólicamente intensa interpretación que lo impulsa implacablemente.

Escogiendo sabiamente un entorno familiar para su primera película -está ambientada en gran parte en un barrio obrero de Madrid, volviendo al pueblo de la infancia de Arévalo para escenas posteriores-, El hombre paciente es un candidato al mejor thriller español del año, su creciente tensión es a veces tan visceral que asegura que no se olvidará rápidamente. Su tensión creciente es a veces tan visceral que asegura que no se olvidará rápidamente.

Desde los primeros fotogramas, José (Antonio de la Torre) es claramente un hombre con una misión. Camina cabizbajo, con urgencia, como si llegara tarde a una cita muy importante, y es la naturaleza terrible de esa cita lo que nos preocupa aquí. Tras presentarse en el bar del barrio que regenta Juanjo (Raúl Jiménez), José, crucial para lo que viene después, es capaz de maniobrar para ganarse el afecto de la hermana de Juanjo, Ana (Ruth Díaz), cuyo marido, el violento Curro (Luis Callejo), está a punto de salir de la cárcel tras cumplir condena por el robo de una joyería. En las primeras escenas, no está claro, ni para los otros personajes ni para el espectador, quién es José, y en este sentido, el título en inglés quizás revela demasiado.

The fury of a patient man explained reddit

I have always liked Rául Arévalo. I think he’s a great actor, both in his comedic and dramatic roles. And I was eager to see what his first feature film behind the cameras was like. I’m talking about the film Tarde para la ira where he debuts as director and screenwriter.

Because of an unexpected situation he will see that it is not as easy as he would have liked to return to his usual life. After his encounter with José, a stranger to him, he will be forced to embark on a journey where he will have to face the ghosts of the past and will sink into a maelstrom of anger and revenge.

To be honest, films that deal with the theme of revenge, always tend to attract me. But that’s not enough, it has to have other ingredients and good work to make me like it. And Afternoon for Anger does just about everything.