Cinema surveillance images are loading at the bottom of the page

Intacto - Leonardo Sbaraglia, Eusebio Poncela, Mónica López, Juan Carlos Fresnadillo

Threat advisory: Elevated - Significant risk of entertaining activities

Movie propaganda

Odds of winning the Lottery: 1 in 23,000,000
Odds of being struck by lightning: 1 in 10,000,000
Odds of being in a plane crash: 1 in 1,000,000
Odds of having a royal flush: 1 in 649,739
Odds of becoming a millionaire in a casino: 1 in 600,000
Odds of being hit by an asteroid: 1 in 20,000
Odds of getting in a car accident: 1 in 7,000

There are those among us who are preternaturally lucky. They are the survivors of the plane crash that kills everyone else, the ones who escape being victims of war and terror, the gamblers who win high-stake games and even life itself. Their gift is not only being lucky, however; it includes the power to rob others of their luck and leave them helpless in the face of misfortune.

Frederico (Eusebio Poncela) has been robbed of his luck and believes that Tomás (Leonardo Sbaraglia), the survivor of a plane crash, will be the instrument of his vengeance. The two men embark on a voyage of initiation, a series of trials challenging others that will lead them to the summit of chance, but they must avoid the scrutiny of policewoman Sara (Monica Lopez), herself a survivor, to finally meet Sam (Max von Sydow), the master of the domain from which only one person will emerge intact.

Theatrical propaganda posters

Intacto image

Target demographic movie keyword propaganda

  • Film thriller luck gambling Spain murder crime casino

Persons of interest

  • Leonardo Sbaraglia .... Tomás
  • Eusebio Poncela .... Federico
  • Mónica López .... Sara
  • Antonio Dechent .... Alejandro
  • Max von Sydow .... Samuel
  • Guillermo Toledo .... Horacio
  • Alber Ponte .... Marido Sara
  • Andrea San Vicente .... Hija Sara
  • Marisa Lull .... Enfermera Planta
  • Luis Mesonero .... Gerard
  • Susana Lazaro .... Cautiva
  • Iván Aledo .... Guardaespaldas
  • Paz Gómez .... Ana
  • Marta Gil .... Claudia
  • Pere Eugeni Font .... Engominado
  • Andrés M Koppel .... Screenwriter
  • Juan Carlos Fresnadillo .... Screenwriter
  • Juan Carlos Fresnadillo .... Director

Cinematic intelligence sources

  • Intacto official movie sites
  • Intacto QuickTime movie trailers
  • Awards and film festivals:
    • Bratislava Film Festival 2002: Nomination: Grand prix
    • Cannes Film Festival 2002: Official Selection (Critics' Week)
    • Goya Awards: Won: Best New Director, Best New Actor (Leonardo Sbaraglia); Nominations: Best Cinematography (Xavi Giménez), Best Lead Actor (Eusebio Poncela), Best Production Design (César Macarrón), Best Production Supervision (José Luis Jiménez), Best Special Effects (Raúl Romanillos, Pau Costa, Félix Bergés, Carlos Martínez, Antonio Ojeda), Best Supporting Actor (Antonio Dechent)
    • Melbourne International Film Festival 2003: Screening
  • Director's statement
  • NB: English and Spanish languages with English language subtitles
  • See also 13 Tzameti
  • Studios and distributors:
    • Niche

Intelligence analyst

Special Agent Matti

Theatrical report

Intacto is Unbreakable without the Hollywood polish and shine. Had they come out in the opposite order everything would be fine (no-one expects Hollywood to be original, least of all Hollywood itself) but because they're the way they are, it has mostly been seen before. Which is not to say that it's old hat, but there's some pretty familiar territory.

If you like watching people live their lives on the edge (and I do mean the edge) then Intacto will give you all the thrills of Series 7: The contenders in a higher socio-economic bracket.

Security censorship classification

MA 15+ (Medium level violence)

Surveillance time

109 minutes (1:49 hours)

Not for public release in Australia before date

Film: 27 November 2003

Cinema surveillance images

Intacto imageIntacto imageIntacto imageIntacto image

[ Return to top ]

Director's statement
Luck can be stolen... Not long ago I met a woman who has held on to a ticket for a flight she missed 17 years ago. She'd had a few too many drinks the night before and her plane had taken off from Madrid without her, probably with someone else in her seat, someone who'd had his name put on the waiting list. Someone who felt a winner to have been chosen by fate at the eleventh hour to occupy that seat on the plane; a feeling inversely proportional to the guilt the woman felt when she woke up hung over and realised that she wouldn't be making an important meeting. At that moment she didn't know that she would never have attended that meeting anyway. The plane crashed. There were no survivors.

When I asked her why she still had it she didn't exactly know what to say. After a short silence she reached the conclusion that it was her lucky charm... that piece of paper protected her. That woman was afraid of losing her amulet... afraid of losing her good luck. She was alive and could feel her luck just like the characters in the film Intacto. As if it were a treasure you can possess and which, if you hold on to it, will make circumstances protect and favour you over and above all other mortals.

I've always been fascinated by the superstitious feeling that, one way or another, we've all at some time been captives. A delirious, magical feeling that turns the abstract and the chaotic, the uncontrollable movements of chance, into something concrete, ordered and tangible - an object that brings me good luck, a charm that brings order to chaos for my benefit.

When we wrote Intacto we let our imagination run wild and went one step further: not only can you possess luck through some object but if you've been singled out by the gods of luck, you can have the "gift". You can steal people's luck just by touching them. Intacto fully embraces that magical and dark notion of luck and takes it to an extreme, to a place of gambling and greed where all mortals have a coin - good luck - that you can win, lose or, if you're among the chosen, steal.

Thus when luck is made tangible, material, it becomes a limited, finite thing. Just like money. The inevitable logic of capitalism becomes, in this case, an extraordinary class struggle between those who possess fortune's treasure and those who don't.

But in Intacto there's a touch of perversion that gives an extra boost to the film: the "unlucky" ones are unaware of the battle they've unleashed, unaware that they're being robbed. Their luck, their destiny, is being used like a coin in a bet in a dark, destructive game which the very nature of the "lucky" ones has conjured up and laid on as the only relief to the feeling of guilt torturing them. Their luck is not their own. It is the result of a robbery. And, worst of all, a robbery committed even against one's own loved ones.

The sense of guilt and loneliness of the characters in the film is the same as I saw in the gleam in the eyes of that woman who refuses to let go of a plane ticket. A ticket that reminds her she is special... because others were not.

Two years later, Max von Sydow accepted the role of Sam, the God of Good Luck. The next thing we know, Andres and I are sitting across from one of the greatest film actors of all time, going over the lines of what later became the film's most important scene... the monologue in which Sam describes his survival in a concentration camp.

After those sessions, Max was able to condense the theme of the film into one question, "What do you do with undeserved luck?" It was a very emotional moment hearing that phrase again when he said farewell to us after filming his final scene. He came to me and gave me a hug that practically swept me off my feet. Max is a great man. I was reminded of the scene shot a few days earlier where Sam hugs Federico to take his "gift" - his luck. In this instance, the quality of the act was more amiable and realistic than that of the scene. It is probably because I felt his touch was a blessing.

I asked Max to sign one of the press books. Max wrote a dedication that is indelibly etched in my memory forever. That same night, someone stole the bag in which among other things, I kept that very special press book.

Good luck tokens come and go in a natural cycle of luck, so what was occurring to me was normal. I think we should all take our tokens of luck and intentionally lose them. The best way to attract good luck is to share it.

I felt that luck again, a year later, when Max von Sydow hugged me at a screening of the film, a gesture by a person whose immense nature comes not from luck or fortune but directly from the heart. At that moment it ran through my mind to replace my precious lost tokens, but there was no need to, as that emotional hug filled the void. There was no more room for anything else.

[ Back ]