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This film by Agustín Díaz Yanes had an estimated running cost of US$ 19,000,000 and was produced and/or financed by Canana Films and Boomerang Cine.DISTRIBUTORS OF THIS FILM in original language in Argentina, Mexico and United States.

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‘Sólo quiero caminar’ is the story of four women, four survivors united in life by bad luck, poverty and fear, who are dedicated to surviving on petty theft and a few robberies.

After returning from Mexico and ending up in jail, Gloria Duque (Victoria Abril), helps three women (Ariadna Gil, Elena Anaya and Pilar López de Ayala) to take revenge on some Mexican gangsters (Diego Luna, José María Yazpik) by planning a heist, but something will go wrong.

For my modest opinion, this film is the resurgence of a great actress like Victoria Abril. After seeing her in so many films with so many bad roles, she comes here and she comes out on top. Film of women and for strong women, it is as if the director wanted to show the mental strength that a woman can have against a man, Ariadna Gil of course also has a spectacular role, because with a voice that seems to have never broken a …

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An innocent college student is attacked by gangsters and abandoned to her fate in the woods. She is possessed by an ancient demonic spirit which endows her with a great thirst for revenge. Now, Evangeline must decide if she is willing to sacrifice her own soul in order to set the record straight with her attackers.

A young wandering shaman (Garcia Bernal), living in the Argentine jungle, ends up on a tobacco plantation where a man lives with his daughter (Alicia Braga). That same day, mercenary deforesters, who have been harassing them for some time, break into the farm and murder the father before the eyes of the young woman, whom they kidnap.

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Much more irregular than the aforementioned filmmaker’s opera prima, it is striking that the tone is less realistic and dramatic, it has ups and downs, it misses a better description of the characters, and its excesses of sex and violence can become exhausting. It includes more humor and numerous references to film classics such as Perfect Heist and Wild Group, the most obvious, as images from the beginning of Peckinpah’s film are combined with one of the key moments of the plot. Díaz Yanes has allowed himself to pick up the central theme of the legendary western, the loyalty between amoral characters in an aggressive environment where survival is a drama. But the film is closer to Tarantino’s fictional cocktails.