‘Que Dios nos perdone‘ (distributed in the English-language market with the title ‘May God Save Us‘), the 2016 film by Spanish director Rodrigo Sorogoyen surprised me, and probably a similar reaction was felt by many who know cinema Spanish especially from the films of famous directors like Almodovar or before him Bunuel, and less through the works of those who do not enjoy the same international fame. However, a national cinema school must also be judged by the ‘ordinary’ films, those that attract the public and enjoy local success, but sometimes have less chance with distribution outside the country. This is probably the case with ‘Que Dios nos perdone‘, an excellent psychological thriller and film inspired by the life and characters of police officers, which rises to the level of the best films of this genre produced by American or French cinema.
Velarde and Alfaro, two inspectors from the Madrid police criminal brigade, are the first to identify the link between two cases that represented the beginning of a chain of crimes committed by a serial murderer and rapist who chooses elderly women as victims. The two are good professionals and dedicated police officers, and in a short time they manage to establish a psychological portrait of the murderer that gradually brings them closer to his discovery. However, the cases happen during the period when the Spanish police (and probably politicians) are busy with an official visit of the pope and have an interest in avoiding negative publicity. Encouraged by the apparent lack of echo of his crimes, the killer continues the series of murders. Police officers are not angels either, their private lives face difficult problems. One of them has violent outbursts that probably origin is in family life (his wife leaves him for a lover, his daughter goes through the rebellions of adolescence). The other policeman carries with him the childhood traumas that caused a chronic stutter, and hence the impossibility of starting a family or even maintaining long-term relationships with the women he meets. From a moment on, the spectators will also know who the murderer is, and his confrontation with the two policemen will become more and more personal. In the absence of institutional and psychological support, the two police officers are forced to resort to unconventional methods. Can justice be done within the legal system, do the policemen still have moral or legal authority when the conflict with the criminals becomes too personal?
Starting from a detective intrigue filled with forensic elements and psychological profiling like those that abound in television series, ‘Que Dios nos perdone‘ goes far beyond the limits of the genre and asks these general questions, valid in Spain, of course, but also in any other part of the world. The cinematography is excellent, the narration is cursive, and the two cops played by Antonio de la Torre and Roberto Álamo are very credible on screen. As spectators, we care about them, even if many of their actions can be questioned. The film by director Rodrigo Sorogoyen manages to create an intrigue and heroes that catch our attention and involve us as spectators. Recommended viewing.