
En dónde están los ladrones?
2017

1991
PG-13Director
Miguel Marte
Runtime
90 minutes
Average Rating
No ratings yetSynopsis
Rodolfo and Carlos are police officers dedicated to their work, between the two of them they like Jenny, a beautiful woman that Carlos manages to fall in love with, and with whom Rodolfo remains madly in love. One night they knock on his door and it was Jenny all beaten up asking him for accommodation, then he finds out that Carlos is involved in shady business and decides to take revenge by unleashing a crazy comedy.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The story centers on a heterosexual romantic triangle between Rodolfo, Carlos, and Jenny. There is no evidence of same-sex intimacy or non-cisnormative identities within the narrative.
Gender Representation
Jenny serves as the central catalyst for the plot, yet she primarily functions as an object of desire. The power dynamics favor male agency and competition between the two officers.
Racial & Ethnic Diversity
The film provides representation by centering a narrative within a non-Western cultural framework. It challenges Anglo-centric comedy norms through its specific linguistic and cultural context.
Religious & Cultural Diversity
The plot explores themes of personal justice and professional corruption. It suggests a critique of institutional reliability by depicting police officers navigating shady business and personal vendettas.
Disability Representation
The narrative contains no mention of characters with physical or neurodivergent disabilities. No information is available regarding the representation of impairments.
Strengths
Areas for Improvement
AI Analysis
De chivo los tamales is a character-driven comedy that uses a love triangle to explore themes of loyalty and retribution. It succeeds in providing cultural representation by stepping outside the mainstream Hollywood framework, offering a perspective rooted in a specific non-Western context. However, the film relies heavily on traditional genre tropes. The romantic structure is conventional, and the female lead's role is largely defined by her relationship to the male protagonists and her status as a victim of circumstance. Ultimately, while the film offers a refreshing cultural lens and critiques institutional stability, it lacks the intersectional complexity required for a higher diversity rating.

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