On the cinematic horizon, Pimpinero: Blood and Oil has ignited discussions among movie enthusiasts, particularly for its intriguing premise set against the backdrop of illegal oil smuggling along the Colombian-Venezuelan border. Released on Prime Video, the film has drawn attention not just for its plot, but also for the bold vision of director Andrés Baiz, known for his work on Narcos and Metástasis. The film has sparked interest as it delves deep not only within the criminal underworld but also explores complex familial dynamics among its main characters.
The narrative follows three brothers: Moises, played by Colombian music superstar Juanes, Carmelo, portrayed by David Noreña as the ruthless kingpin controlling the gas-trafficking network, and Ulises, played by Alberto Guerra, who is depicted as a debt-ridden drunkard struggling to protect his family. While the film hints at deep-seated tensions and emotional currents within the brothers, it often skims the surface. How did Moises become so steadfastly committed to justice? What brought Ulises to the depths of his addiction? These pivotal questions remain unaddressed, reducing their relationship to mere shadows on screen.
While Moises and Carmelo dominate the initial scenes with their conflicting drive and ambition, it’s Ulises who might have the most compelling storyline—if only it were fully developed. Instead, the film increasingly shifts focus onto Diana, Moises’s girlfriend, played by Laura Osma. Diana metamorphoses from a background character to the narrative's fierce center as she turns vengeful following tragedy. This shift subverts typical genre tropes, moving away from easy narratives of love and escape to something grittier, as Diana becomes increasingly embroiled in the dark world of her family’s legacy, the infamous ‘pimpinera’. While her transformation adds dimensions to the film, it does so at the expense of the brothers' arcs.
Visually, Pimpinero doesn’t disappoint. Cinematographer Mateo Londono captures the breathtaking landscapes of the Colombian desert, adding raw beauty to the film. Dynamic shots of sunlit vistas and high-octane pursuits vividly articulate the dangerous dance of crime. A standout moment features Moises defiantly kneeling before the police as his car burns behind him—a potent image of resistance.
Despite its visual excellence, the film relies heavily on well-trodden crime genre conventions: shootouts, betrayals, and revenge permeate the narrative fabric but feel predictable. Baiz, with his knack for crafting gripping criminal settings, nonetheless struggles to give his characters the necessary depth to make their tales memorable.
Another area where Pimpinero falters is pacing. Key emotional beats—such as poignant exchanges between Moises and Diana or sensitive dialogues revolving around family loss—are cut short, denying the audience the chance to savor their significance. The flickers of intimacy hint at the potential for rich storytelling but are neglected for more action-driven sequences. The scattershot approach leaves emotional investments dangling, unexplored and unresolved.
Overall, Pimpinero: Blood and Oil is visually arresting yet narratively uneven—while it captivates with stunning cinematography and bold thematic undertones, it struggles under the weight of its ambition. The film teases at profundity and the potential for gripping storytelling but often falls short, leaving viewers with the sense of what could have been.
Final Score - [4/10] Reviewed by - Neerja Choudhuri, Publisher at Midgard Times
