Nine Queens

Nine Queens (Nueve reinas) follows two con artists, the seasoned and cynical Marcos (Ricardo Darín) and the seemingly naive rookie Juan (Gastón Pauls), who meet by chance in a convenience store. After Marcos intervenes in Juan's clumsy attempt at a small-time scam, he takes the younger man under his wing for a day, introducing him to the 'art' of swindling on the streets of Buenos Aires.

The duo stumbles upon a once-in-a-lifetime opportunity: a scheme to sell a sheet of rare, counterfeit stamps—the titular 'Nine Queens'—to a wealthy Spanish collector who is about to be deported. As the clock ticks, they must navigate a labyrinth of obstacles, including Marcos's estranged sister Valeria, suspicious associates, and their own mutual distrust.

As the stakes rise, the line between partner and adversary blurs. The plot twists and turns through a series of double-crosses, leading to a climax where nothing is as it seems, and the ultimate con is revealed to be far more complex than a simple sale of stamps.

At its heart, Nine Queens is a cynical examination of trust and morality within a collapsing society. Director Fabián Bielinsky uses the structure of a heist film to critique the 'every man for himself' mentality that permeated Argentina prior to the 2001 economic crisis.

The film suggests that in a corrupt system, honesty is a liability and 'viveza criolla' (native cunning) is the only survival mechanism. However, it ultimately subverts this by showing that even the most masterly manipulator can be outplayed when underestimated. It serves as a meta-commentary on cinema itself, where the audience is the final 'mark'—willingly deceived by the director's sleight of hand.

While the primary reading is a straightforward 'con the conman' plot, some critics view the film as a meta-cinematic allegory. In this reading, Marcos represents the skeptical audience, believing he knows the rules of the game (cinema/genre), while Juan represents the Director, manipulating the reality Marcos perceives. The 'Nine Queens' are the film itself—a constructed illusion that we buy into.

Another interpretation focuses on the socio-political critique: Marcos is not just a crook but a symbol of the neoliberal policies of the 90s (Menem era)—arrogant, individualistic, and predatory. His downfall at the hands of a collective (Juan, Valeria, and their team) represents a fantasy of social justice where the people reclaim what was stolen by the corrupt elite.

Nine Queens is widely considered a masterpiece of the New Argentine Cinema and a cultural touchstone. Released in 2000, it captured the zeitgeist of an Argentina on the brink of collapse. The film's depiction of a society eroding under the weight of corruption and mistrust resonated deeply with audiences facing the 2001 crisis.

It launched Ricardo Darín into international stardom, cementing his status as Argentina's premier actor. The film's success proved that Argentine cinema could produce slick, genre-driven commercial hits that still retained artistic integrity and social commentary. It influenced a wave of Latin American crime thrillers and remains the benchmark for the genre in the region.

The film holds a legendary status, with a 92% score on Rotten Tomatoes and high praise on IMDB. Audiences and critics alike laud the tightly woven script, the chemistry between Darín and Pauls, and the shocking twist ending.

Praised aspects: The realistic portrayal of Buenos Aires, the pacing, and the satisfying conclusion where the 'villain' gets his comeuppance.
Criticisms: Some minority reviews find the ending too contrived, relying on too many coincidences to be plausible. However, most viewers forgive this for the sheer entertainment value.