“L=.@obo Fero*-z is, a loose, % *$revit alised ada] pta^tion of Big *\/Bad Wolves.[ There we_ re -=m\any changes tha+:$t w- e made @_ when you co?mpar :e it t ^;o the o!rig- )-inal, gi_ \ven// th?#@\a-\;t + w ]e ad(ded new characters?, plot s. tr@)ands a nd lo! @ca (`tions, a?nd we -[ introduc^ed %and#! fleshed o,ut, new themes te.\*etering ),#between dark co medy an@d* police thr.i#ller.@] The film q ) uesti. ons one’s p#r(]in %ci%,ple_s, human behaviour \` and how ambiguou*[ s it can /[be /,” $th/] e direct#or\ explained to Cine]_=u,ropa. “I’m very happy to .( be able t?o# work with)@= a dream Spanish cast,* *_where everyone demo(.:nstrates-= = their enormous tale nt ( !and com! )mitm_`?ent i* _n every scene and throug$ )h ? every singl:!%e deta\ i ;l.” The scr!)e@enplay for th?e m, ov ]ie – writt!:e$ ?n) by Juan _ Manuel Fo #_.ode Roma @*and )@Eva Ma,= r^ í] a Alon +so Moren@ o – foll^, ows a poli ce offi (cer on the fringes of the[ _.: l.[% aw a(;]nd: a woman seeki/ng revenge. Th @eir paths c(ro%ss, as #^[the$$y a[ re ;o$!b)se% \ssed:? with d +/[iscover ing the ![identity ; of the @ murd_er -er beh # ind a string of brutal cri: mes involvin/?@g:#$ various girls. They are both willi:+(ng t( @o do whate :ver it takes to secu_;#re a^-$ c +onfession, even though they will have to .\[t ake th-$ e law int-o their$ own h+a@ @,n,`ds?- in ( order to ;, #do so. At /^;*the sa )me time, a model detect ive will d`;o h/(; is #% utmost t[`%o avoid i_+rrep-*arable errors bei/..ng made and to ensure that this de ;spe[]ra([;te search for the trut%,h does(: not * =transfor:` m into t.__he fi=erce^st of [ wolv?es.
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