Non Negotiable is a unique Netflix movie that mixes action, comedy, romance, and drama in a compelling storyline. Despite mixed reviews, Non Negotiable climbed the Netflix charts thanks to its charming cast and relatable dynamics. The success of Non Negotiable can be attributed to its approachable nature, solid storyline, and the support of a strong fan base.
The top 10 charts on Netflix can be an interesting gauge of what audiences are watching, and sometimes movies and TV series that flew under the radar or were met with initial mixed reactions manage to flourish on the popular streaming platform. International cinema, in particular, has found a welcome home on Netflix. From the recent success of the French shark/disaster flick Under Paris to the early Netflix Spanish hit The Platform, streaming gives movies otherwise overlooked a chance to shine.
Recently popping into the top 10 charts is a Spanish comedy called Non Negotiable,...
The top 10 charts on Netflix can be an interesting gauge of what audiences are watching, and sometimes movies and TV series that flew under the radar or were met with initial mixed reactions manage to flourish on the popular streaming platform. International cinema, in particular, has found a welcome home on Netflix. From the recent success of the French shark/disaster flick Under Paris to the early Netflix Spanish hit The Platform, streaming gives movies otherwise overlooked a chance to shine.
Recently popping into the top 10 charts is a Spanish comedy called Non Negotiable,...
- 8/5/2024
- by Adam Symchuk
- MovieWeb
Netflix has a new comedy-thriller smash hit that is climbing the charts fast. Following its release last Friday, the Mexican film Non Negotiable has soared to the top of the streamer's foreign language movie Top 10 while also grabbing the #5 spot on the overall movie chart, notably beating out The Man From U.N.C.L.E. which was just recently added to the platform. Hailing from Argentino director Juan Taratuto with an original concept developed by Alejandro De Grazia and penned by Julieta Steinberg, Joe Rendn, Daniel Cparo, and Marcelo Birmajer, it stars Mauricio Ochmann as a hostage negotiator trying to save his marriage while also saving both his wife and the Mexican president from a sticky situation.
- 7/29/2024
- by Ryan O'Rourke
- Collider.com
When a hostage negotiator on the brink of divorce is faced with rescuing both his abducted wife and the president of Mexico, his mediation skills may save lives … and, hopefully, his marriage. The Mexican comedy thriller Non Negotiable, starring Mauricio Ochmann, Leonardo Ortizgris, and Tato Alexander, was directed by Juan Taratuto (The Reconstruction). Based on an original idea by Alejandro De Grazia (Almost Happy), the film was written by Julieta Steinberg (Death’s Roulette), Joe Rendón (Harina), Daniel Cúparo (An Unexpected Love), and Marcelo Birmajer (Periodismo para Todos).
Stream it now.
Check it out at the top of this page.
Alan Bender (Ochmann), the best hostage negotiator in Mexico, is so committed to his job that he neglects his family — much to the dismay of his wife, Victoria (Alexander). The two begin couples therapy to work on their issues, but it may be too late: Bender finds out Victoria’s...
Stream it now.
Check it out at the top of this page.
Alan Bender (Ochmann), the best hostage negotiator in Mexico, is so committed to his job that he neglects his family — much to the dismay of his wife, Victoria (Alexander). The two begin couples therapy to work on their issues, but it may be too late: Bender finds out Victoria’s...
- 7/23/2024
- by Ingrid Ostby
- Tudum - Netflix
Lost Embrace
Berlin International Film Festival
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
- 7/9/2004
- The Hollywood Reporter - Movie News
Lost Embrace
Berlin International Film Festival
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
- 2/10/2004
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.