
The Swindle
1977

2011
Director
Konstantin Buslov
Runtime
88 minutes
Average Rating
No ratings yetSynopsis
In 1991, Russia discovered big money. In 2011, money is everything… Present-day Moscow. A bag with a million euros in cash is stolen form the car of a successful business man “with connections.” Going from one happy owner to the next, the moolah changes hands quickly… And it all began when the millionaire Grigory refused to declare his taxes.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film offers no evidence of LGBTQ+ characters or non-heteronormative narratives. The plot remains strictly focused on criminal enterprise and the movement of capital.
Gender Representation
The narrative centers on a successful businessman and the pursuit of wealth. This focus suggests a patriarchal structure without evidence of female agency or subverted gender hierarchies.
Racial & Ethnic Diversity
Set in contemporary Moscow, the film appears to reflect a localized, homogeneous demographic. There is no explicit evidence of a multi-ethnic cast within this regional crime-comedy context.
Religious & Cultural Diversity
The story provides a cynical critique of capitalist structures and corruption. It disrupts conventional celebrations of wealth by tracing how unregulated capital drives systemic immorality.
Disability Representation
There is no indication of characters with physical or neurodivergent disabilities. The documentation lacks any mention of disability representation.
Strengths
Areas for Improvement
AI Analysis
Moolah is a genre-driven crime comedy that prioritizes the mechanics of wealth and corruption over identity-based storytelling. The narrative architecture focuses on the cyclical nature of capital in post-Soviet Moscow, which limits the scope for diverse character representation. While the film lacks intersectional diversity in terms of gender, race, or LGBTQ+ identity, it succeeds in offering a thematic critique of economic institutions. It deconstructs the archetype of the successful businessman through a lens of systemic instability. Ultimately, the film's low score reflects a lack of visible progressive representation in its casting and character identities, despite its moderate level of institutional critique regarding capitalism.

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