
Vultures
2018

2014
TV-MADirector
Jorge Diaz de Bedoya
Runtime
87 minutes
Average Rating
No ratings yetSynopsis
J.D. Flitner arrives in Asuncion to strike a deal with crime lord Brasiguayo to grow marijuana on land he owns. Things take a dark turn for J.D. when Brasiguayo's lieutenant plans a coup during a trip through the streets.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks explicit LGBTQ+ characters or narratives addressing non-cisnormative identities. The story focuses on a transactional relationship between a protagonist and a crime lord.
Gender Representation
The narrative centers on a male-dominated power struggle involving J.D. Flitner and Brasiguayo. This focus on masculine-coded conflict reinforces traditional patriarchal leadership roles within the crime genre.
Racial & Ethnic Diversity
The Asuncion setting provides a framework for ethnic diversity through cross-cultural interactions. However, the depth of character identities remains unclear beyond the geographical context.
Religious & Cultural Diversity
The film explores systemic corruption and the volatility of criminal institutions. It follows standard genre tropes of greed and betrayal rather than offering a specific cultural critique.
Disability Representation
There is no mention of characters possessing visible or invisible disabilities within the narrative.
Strengths
Areas for Improvement
AI Analysis
Filthy Luck operates within the established conventions of the crime thriller, prioritizing transactional power dynamics over the deconstruction of social hierarchies. The plot follows a standard trajectory of greed and betrayal, utilizing crime as a primary plot device. While the Paraguayan setting offers inherent opportunities for cultural intersectionality, the film relies heavily on masculine-coded conflicts. The focus remains on land deals and criminal hierarchies rather than a concerted effort to disrupt identity-based norms. Ultimately, the work functions as a genre piece that reinforces traditional tropes. It lacks a documented history of systemic subversion or intersectional narrative architecture.

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