Wild Tales is not a celebration of violence. It is a forensic examination of what happens when the performance of everyday life demands too much repression for too little reward. Szifrón’s Argentina—with its casual corruption, class warfare, and bureaucratic sadism—is merely a synecdoche for all modern societies. The “wild” in the title refers not to the acts themselves but to the state of nature that lurks beneath the starched collar of law.
En "El más fuerte" , Darín brilla nuevamente, esta vez en solitario. Su interpretación de un ingeniero frustrado por la burocracia y el favoritismo del gobierno es un estudio sobre la desesperación. La narrativa visual de su personaje, pasando de la paciencia a la demencia, está respaldada por la capacidad de Darín de conectar con el espectador sin necesidad de diálogos extensos. Es una crítica visual a la impotencia ciudadana.
Then there is La propuesta , the film’s moral heart. A wealthy father bribes a lawyer to take the fall for his son’s hit-and-run. The gardener, the lawyer, the prosecutor—all are actors for hire. The genius of the episode is the gardener’s refusal. He is the only character who has no social role to protect; he is already invisible. When he accepts the money, he does so as a transaction, not a performance. The father, by contrast, is a master thespian—weeping, negotiating, threatening—until the final scene, where the son, having witnessed his father’s moral bankruptcy, whispers, “You should have let me turn myself in.” The tragedy is that the son wanted to become a responsible actor in the social play, but the father’s wealth has made him a puppet. The episode ends not with violence but with a deeper corruption: the substitution of justice with theatrical management.
Rita Cortese aparece en el segmento "La propuesta" como la madre de la víctima. Su actuación es potente y dolorosa, personificando el dolor intransigente que busca justicia a cualquier costo, actuando como catalizador del trágico final. actores relatos salvajes
The actors in these tales—the waitress, the groom, the bomb engineer, the demolition driver—are not psychopaths. They are failed actors. They have forgotten their lines, or realized the lines were written by their oppressors. In their violence, they achieve a grotesque authenticity that the film’s opening civility can never provide. The final image of the bride and groom, smeared in cake and blood, fucking on a banquet table, is obscene. But it is also a liberation. Szifrón’s deepest provocation is this: the only honest response to an unjust script is not to rewrite it, but to tear it up. And then, to dance on the pieces.
El episodio final, "Hasta que la muerte nos separe" , es quizás el más icónico, y gran parte de su éxito se debe a la actuación de Érica Rivas.
The final episode, Hasta que la muerte nos separe (Until Death Do Us Part), is the film’s masterwork of performative destruction. A bride discovers her groom’s infidelity during their reception. What follows is not a breakdown but a re-scripting . She flees to the roof, has sex with a catering waiter (an act of pure, unscripted desire), smashes her own cake, and vomits on the groom’s mother. Yet the scene’s genius is her pivot: she does not leave. Instead, she returns to the dance floor, takes her husband’s hand, and begins to tango—but this tango is not reconciliation. It is a public execution of their former selves. The other guests, frozen, are the audience of a marriage’s auto-da-fé. Wild Tales is not a celebration of violence
El episodio central, "La propuesta" , funciona como el clímax dramático de la película y reúne a dos pesos pesados del cine argentino.
(Diego Iturralde): A businessman in a luxury car who engages in a lethal road-rage battle on a desert highway. Oscar Martínez
Gran parte de su éxito rotundo se debe a su elenco estelar. Los entregaron interpretaciones viscerales que capturaron la frustración y la catarsis de una sociedad al límite. El Reparto Coral por Segmento The “wild” in the title refers not to
En el episodio "La propuesta" (el mismo de Sbaraglia y Darín), Julieta Zylberberg tiene un papel crucial aunque breve. Interpreta a la empleada doméstica que es sobornada para culpar al hijo del millonario. Zylberberg comunica con la mirada la angustia de una persona cuya dignidad está en venta, sirviendo como contrapunto moral ante la frivolidad de los personajes ricos.
(Salustiano Pasternak): Features in the opening "Pasternak" sequence as a pilot who gathers all his enemies on a single flight. Supporting and Notable Appearances Diego Gentile : Plays the groom, Ariel, opposite Érica Rivas Walter Donado : The truck driver who clashes with Leonardo Sbaraglia in "El más fuerte". Nancy Dupláa : Appears as Victoria in the "Bombita" segment.