Although I agree with some considering the fact Hell (Mexico, 2010) the best film of Luis Estrada (I prefer to think of it as the least worst ), not finished completely empathize with her. And yes: it has a brisk pace that helps a lot, some, not many achieved and-gags some-very few lines of dialogue, silly. But it has so many flaws and among those many the most annoying, irritating, is the conception of certain characters. A Estrada what happens to Novaro (Mary director, Beatriz writer) who from his mentality coyoaquense corner given by the countess imagined "ideal types" and therefore unlikely to believe in fiction name basis (or twitter ?) with reality, if the latter the Working Class Goes to Paradise workers and their wives-course-speak with an awareness of class and gender and political agitator like any shift and with such resources as political science students at UNAM are treated (I think especially in the Tiare Scanda of No trace / 2000), in that the narcos show such awareness of the Mexican reality and would like any avid committed reader "ideal" La Jornada or process.
Estrada claims that his Cochiloco (a heavy Joaquin Cosio), which has as much capacity for thinking out loud (and the slightest provocation, external) to the trigger, is something like the carrier, and forgiveness with the term "ethos of hell, and that makes their obviotes, politically and impostadísimos aclichados dialogues contribute to the whole thing is dangerously close to swallow.
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