Que Dios nos perdone
Rodrigo Sorogoyen
© Le Pacte
Madrid, summer 2011. Inspector Alfaro, known for being hot-headed and having a tendency for violence, and his stuttering and pedantic colleague Velarde, have to team up to investigate the death of an old woman whose body has been found on a staircase. Even though everyone supposes that it is a burglary gone wrong, Velarde thinks it is a murder.
With : Antonio de la Torre, Roberto Álamo, Javier Pereira, Luis Zahera, Raúl Prieto, María de Nati
Screenplay : Isabel Peña, Rodrigo Sorogoyen
Image : Alejandro de Pablo
Editing : Alberto del Campo, Fernando Franco
Music : Olivier Arson
Screenplay : Isabel Peña, Rodrigo Sorogoyen
Image : Alejandro de Pablo
Editing : Alberto del Campo, Fernando Franco
Music : Olivier Arson
Production : Tornasol Films, Atresmedia Cine, Hernández y Fernández Producciones Cinematográficas
Distribution: Le Pacte
Distribution: Le Pacte
Winner of the Prix Sang Neuf at the Beaune International Thriller Film Festival in 2017, Que Dios nos perdone (May God Save Us) was a surprise success in France with more than 200,000 entries. “Rodrigo Sorogoyen's great idea was to set the action in Madrid during the summer of 2011(...). Added to the heatwave which amplifies the clammy side of this case of a serial killer who rapes and murders old women, is an anti-police environment which perfectly matches the ambiguous portrait of the two investigators”. (Philippe Rouyer; Positif) After La isla mínima (Marshland) (2014), Tarde para la ira (The Fury of a Patient Man) (2016) and El hombre de las mil caras (Smoke and Mirrors) (2016), this film confirms the good health of Spanish detective films in the 2010s. Que Dios nos perdone is structured by energetic directing and impressive actors (Antonio de la Torre, Roberto Álamo) who will return in other films by Sorogoyen. “A certain idea of Spain as patriarchal and Catholic is flipped like a tortilla in this story of rapes of old women against a backdrop of undigested religious upbringing. It is true that there is nothing new to this, (…) but maybe it is exactly that: showing that nothing has really changed”. (Marcos Uzal; Libération)