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IMDbPro

Traffic - Ninguém Sai Limpo

Título original: Traffic
  • 2000
  • 18
  • 2 h 27 min
AVALIAÇÃO DA IMDb
7,5/10
226 mil
SUA AVALIAÇÃO
POPULARIDADE
1.755
31
Michael Douglas, Don Cheadle, Dennis Quaid, Benicio Del Toro, and Catherine Zeta-Jones in Traffic - Ninguém Sai Limpo (2000)
Traffic: Drugs
Reproduzir clip1:47
Assistir a Traffic: Drugs
11 vídeos
99+ fotos
Cop DramaDrug CrimeCrimeDramaThriller

O presidente nomeia um juiz conservador para liderar a crescente guerra às drogas nos EUA, apenas para descobrir que sua filha adolescente é viciada em crack.O presidente nomeia um juiz conservador para liderar a crescente guerra às drogas nos EUA, apenas para descobrir que sua filha adolescente é viciada em crack.O presidente nomeia um juiz conservador para liderar a crescente guerra às drogas nos EUA, apenas para descobrir que sua filha adolescente é viciada em crack.

  • Direção
    • Steven Soderbergh
  • Roteiristas
    • Simon Moore
    • Stephen Gaghan
  • Artistas
    • Michael Douglas
    • Benicio Del Toro
    • Catherine Zeta-Jones
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,5/10
    226 mil
    SUA AVALIAÇÃO
    POPULARIDADE
    1.755
    31
    • Direção
      • Steven Soderbergh
    • Roteiristas
      • Simon Moore
      • Stephen Gaghan
    • Artistas
      • Michael Douglas
      • Benicio Del Toro
      • Catherine Zeta-Jones
    • 941Avaliações de usuários
    • 181Avaliações da crítica
    • 86Metascore
  • Veja as informações de produção no IMDbPro
    • Ganhou 4 Oscars
      • 73 vitórias e 86 indicações no total

    Vídeos11

    Traffic: Drugs
    Clip 1:47
    Traffic: Drugs
    Traffic: Traitor
    Clip 1:21
    Traffic: Traitor
    Traffic: Traitor
    Clip 1:21
    Traffic: Traitor
    Traffic: Got Drugs
    Clip 1:06
    Traffic: Got Drugs
    Traffic: Shoot Him
    Clip 1:16
    Traffic: Shoot Him
    Traffic: Our Life
    Clip 1:27
    Traffic: Our Life
    Traffic: She's Lying
    Clip 1:22
    Traffic: She's Lying

    Fotos244

    Ver pôster
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    + 239
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    Elenco principal99+

    Editar
    Michael Douglas
    Michael Douglas
    • Robert Wakefield
    Benicio Del Toro
    Benicio Del Toro
    • Javier Rodríguez
    Catherine Zeta-Jones
    Catherine Zeta-Jones
    • Helena Ayala
    Jacob Vargas
    Jacob Vargas
    • Manolo Sanchez
    Andrew Chavez
    • Desert Truck Driver
    Michael Saucedo
    Michael Saucedo
    • Desert Truck Driver
    Tomas Milian
    Tomas Milian
    • General Arturo Salazar
    J.R. Yenque
    J.R. Yenque
    • Salazar Soldier
    • (as Jose Yenque)
    • …
    Emilio Rivera
    Emilio Rivera
    • Salazar Soldier #2
    Michael O'Neill
    Michael O'Neill
    • Lawyer Rodman
    Russell G. Jones
    Russell G. Jones
    • Clerk
    Lorene Hetherington
    • State Capitol Reporter #1
    Eric Collins
    • State Capitol Reporter #2
    Beau Holden
    Beau Holden
    • DEA Agent - CalTrans
    Peter Stader
    • DEA Agent - CalTrans
    James Lew
    James Lew
    • DEA Agent - CalTrans
    Jeremy Fitzgerald
    Jeremy Fitzgerald
    • DEA Agent - CalTrans
    Russell Solberg
    • DEA Agent - CalTrans
    • Direção
      • Steven Soderbergh
    • Roteiristas
      • Simon Moore
      • Stephen Gaghan
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários941

    7,5226K
    1
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    Avaliações em destaque

    9don_agu

    A Sodebergh Binge

    Yep, I'm on a full Sodebergh binge. I've been crazy about him ever since "King of The Hill" and he, very rarely, lets me down. I couldn't say that about many people including siblings and lovers. "Traffic" is not a departure for Sodebergh, all of his films are. He is an artist with a golden touch. He can travel through opposing universes with amazing ease. In "Traffic" the universe is uncomfortable, muddy, almost ugly and yet, it fascinates and attracts with the power of a magic magnet. Benicio del Toro and Erika Christensen are the two inhabitants of this peculiar universe that get under your skin and carry with you as if they were part of a personal experience. No, not if. They do, they are, they become part of a personal experience. The film allows you that. It makes you learn without preaching. How many films today manage that?
    10xraymonkey71

    Soderbergh's best film is a thrilling ride...

    The film more than delivers on every level and is certainly a lock for Best Picture of the year. Soderbergh has been on an astonishing roll, demonstrating exceptional versatility in his choice of genres and tremendous agility in balancing artistry with entertainment. He's been America's most consistently brilliant and unpredictable filmmaker for the last decade, and Traffic is the culminating work of his career. First and foremost, it's a richly entertaining epic that recalls the great works of the 1970s, when directors like Robert Altman and Francis Ford Coppola engaged mass audiences with works of genuine substance. Soderbergh works on a larger canvass than he's ever done before, bouncing several characters and plot-lines against and off each other, so that images and themes rhyme and echo. Although the subject matter is drug trafficking, this is not an "issues" movie per se. Instead, it's a profoundly affecting dramatic thriller where the destructive forces of drugs cut across different sections of society. What's most impressive about the direction is how Soderbergh manages to avoid both sentimentalizing and moralizing about drugs. As with Erin Brockovich, there's a graceful absence of self-importance and bombast in the presentation. However, this doesn't mean the film lacks a strong point of view.

    Stylistically, this film represents a major breakthrough. Soderbergh shot the film himself (under the pseudonym Peter Andrews) and Traffic takes all of his past experiments with color, available light, and hand-held work light-years beyond The Limey and Out of Sight. He has created a brilliant style that could best characterized as expressionistic naturalism. His loose hand-held style lends the film an extremely spontaneous realistic tone, but the modifications of color amplify the drama. Each storyline has its own distinct look that accentuates the emotions underlining the film. (The Mexico story involving Benicio Del Toro is told in earthy saturated yellows, the story of Michael Douglas and his daughter Erika Christensen is told in an aquarium blue, while the Catherine Zeta-Jones, Luis Guzman-Don Cheadle story gets a natural available light look). In addition to being visually striking and cool in a completely unpretentious manner, Soderbergh's camera technique transcends mere virtuosity and actually becomes another character in the film. As usual with Soderbergh, the film is edited with musical verve and skill, where time is collapsed and expanded, and characters are seen reflecting on past actions.

    I've been remiss in not discussing the acting earlier. This film has an amazing ensemble cast where everybody is working at the top of their game. However, Benicio Del Toro definitely stands out with the breakthrough performance. I don't think it's accidental that the movie begins and ends with shots of him. He plays Javier Rodriguez, a Mexican police officer caught in a futile and corrupt system, and it's as compelling of a character as Michael Corleone. Del Toro is exceptionally relaxed and subtle, keeping his thoughts and feelings private from the other characters in the films, but sharing it with the camera. Del Toro navigates the audience through a world of impossible choices and moral corruption, quietly simmering with intense conflict just beneath the surface. Benicio's been an indie stalwart for years, but this film should shoot his stock through the roof. If there's justice in this world, he'll be rewarded with Best Actor Awards aplenty.

    Michael Douglas is also terrific, adding another strong performance to his gallery of flawed men in power. He shows genuine fear and vulnerability in a harrowing scene in which he searches for his daughter in a drug dealer's den. I've never seen Erika Christensen before, but she makes an impressive debut. Don Cheadle and Luis Guzman (they should star as a team in every movie!) are as loose, limber and spontaneous as ever, providing plenty of comic relief as well as keeping it real. Catherine Zeta-Jones takes a complete 180 from her past roles and admirably plays against her looks, appearing very pregnant while thrown into gritty surroundings. Dennis Quaid is appropriately slimy as a corrupt lawyer.

    Anyway, film geeks and anybody else starved for a genuine piece of filmmaking should breathe a sigh of relief and give thanks that Soderbergh has come to save the day.
    9MadReviewer

    The Real Best Film of 2000

    A dazzlingly complex film, `Traffic' takes a hard, unflinching look at the so-called `war on drugs' that is perfectly clear and uncompromising. Director Steven Soderbergh takes the various viewpoints of the drug culture -- the users, the dealers, the police, and the politicians -- and weaves their differing stories together into a single story that is both deep in its ideas but very simple to understand. In terms of story, direction, and characters, `Traffic' is easily Soderbergh's best film to date, and one of the best films made in recent years, period.

    `Traffic' takes a look at the world of drugs through the stories and lives of different characters. Some are loosely connected to one another; some are not. There is the story of Javier Rodriguez (Benicio Del Toro), a Mexican policeman struggling to keep his distance from the corruption that seems to follow him everywhere; there is the story of Ray Castro (Luis Guzman) and Montel Gordon (Don Cheadle), two DEA agents trying to turn the low-level drug dealer Eduardo Ruiz (Miguel Ferrer) against his drug cartel boss; there's the story of Helena Ayala (Catherine Zeta-Jones), the unsuspecting wife of the drug cartel boss who suddenly learns who her husband really is and what he does for a living; and then there's the new head of the DEA, Robert Wakefield (Michael Douglas), a man so wrapped up in his mission to stop the war on drug, he fails to notice that his own daughter Caroline (Erika Christensen) is becoming addicted to crack. Much like in the real world, the events of each story directly or indirectly affect the events of the others, leaving all the characters to consider their roles in the drug culture . . . and what, if anything, they can do to change those roles.

    In terms of story, `Traffic' is absolutely brilliant. I'm still amazed that the film could cover so many plotlines and dozens of characters so effortlessly. Each story -- whether it's Helena assuming the role of her drug-dealing husband, or Robert canceling DEA meetings so he can deal with his drug-addicted daughter -- is powerful and brutally honest. `Traffic' isn't afraid to look at tough or uncomfortable issues. `Traffic', somewhat surprisingly, never preaches, either -- while it's safe to say that the message of the film is essentially anti-drug, it never comes out and outright says that message. A lesser film would've had some grandiose speech imbedded somewhere in the film denouncing the use of drugs -- not `Traffic'. It's wise enough to let the viewer take what messages they want from the film, without ever preaching. (A minor quibble -- did Michael Douglas' character really have to be the new drug czar of the United States? The fact that he was the top law enforcement drug official in the U.S., and that his daughter was addicted to drug . . . well, it seemed a little too far-fetched, and a little too movie-like. If Mr. Douglas had been playing ONE of the top drug officials in the federal government, instead of THE top official, I would've found his character to be infinitely more believable.)

    Soderbergh's also at the top of his game with his direction of `Traffic'. The film is virtually filmed entirely with hand-held camera, giving each and every scene an up-close-and-personal feel. There's also a distinct lack of background music, which lets the viewer feel like they're eavesdropping on real-life scenes, and not just watching a movie. These techniques make for a very personal, intense experience. Soderbergh also uses a technique he's used in some of his other films (Out of Sight, Erin Brockovich) -- certain scenes are filtered a specific color, to heighten a mood or a sense of awareness of what's about to happen. The scenes in Mexico featuring the Mexican detective Javier, for example, are all filmed in a very bright, almost disorienting yellow. It's a technique that can be irritating at times, but for the most part, it serves a bold purpose that truly adds to the film.

    As for the characters, and the acting . . . jeez, `Traffic' is without a doubt one of the best-cast films of all time. I mean it. There are no weak links, no poorly written characters, and no badly played characters. Each and every character adds something significant to the story in `Traffic', and each and every actor is outstanding. Kudos must go to possibly one of the best ensemble casts of all time. Three actors in particular stand out, though -- Benicio Del Toro (who won the Best Supporting Actor Oscar for his performance), Don Cheadle (who was actually slightly better than the brilliant performance of Mr. Del Toro, IMHO), and Catherine Zeta-Jones. I'm normally loathe to use the word `flawless' when describing a film, but the casting of `Traffic' was indeed flawless.

    `Traffic', with its unflinching look at drug use in America today, can be uncomfortable at times to watch. It certainly can't be termed a `happy' or a `feel-good' film. That doesn't change the fact that it is an amazing, thought-provoking, powerful film -- and without a doubt the best film released in the year 2000. I can't recommend this film enough. Grade: A
    the_eggman

    Technically great, acting's great, the whole damn thing's great

    It certainly has been a good 12 months for director Stephen Soderbergh, hasn't it? Erin Brockovich, probably the most underrated film of last year, eventually got the recognition Soderbergh, Roberts +Co deserved, as did this film, a chilling account of drug trafficking in North and Central America. As seen in 'Erin Brockovich', Soderbergh often deals with people under immense pressure, and this is quite evident here, telling the story of a new US drug control officer (Michael Douglas) whose daughter is rapidly becoming a drug addict (Erika Christensen). It also shows us the struggles of a drug trafficker's society wife (Catherine Zeta-Jones), whose husband is facing a conviction, and also that of a cop accused of corruption. The direction is superb throughout, speaking in tones, very believable tones, and contrasting atmospheres. The portrayal of Mexico, as a behind-the-scenes nightmare world of seediness, humidity (you can almost FEEL the heat) and as a place where one murder matters not, is handled excellently, Soderbergh quite cleverly using sepiatones to convey the mood. This high standard, which is often difficult to maintain in a movie of its length (2 ½ hours) is maintained, and while at times it borders on arty, it is done thoughtfully, incisively and effectively, the scenes of importance delivered in tense, muted tones. Javier Rodriguez's (Benicio Del Toro) character and personality is both strong and incredibly well-acted - the quiet, thick skinned yet razor-sharp mind suiting his environment perfectly, and his acting is often crucial to the moods set in the film, for example in creating the tense, unearthly atmosphere of Mexico. This quiet confidence is also a key part of one of the film's many underlying messages, namely a study in resourcefulness and where it gets us, particularly in Catherine Zeta-Jones' character, a trophy wife of a drug trafficker who is under arrest. Resourceful as she is, it takes her down the darkest and lowest moral alleyways, and this can be compared to 'Erin Brockovich', where another stressed woman used a different kind of soul and fighting spirit to get results. This film also deals with family life, and the movie cliché of 'daddy never being around' is handled exceptionally well. This time the daddy is the newly-instated drugs officer (Michael Douglas) fighting drugs on two fronts: the Mexican Border and his own home, as he struggles to keep his adolescent daughter on the straight and narrow. The characters are all strong and well acted, I can't put my finger on a single bad performance, but Benicio Del Toro is by far the best on show and his Oscar was well deserved. Michael Douglas proves again that he's a class act, as does Catherine Zeta-Jones and strength in depth is clear all round. All in all, then, a great film, combining good acting, clever psychological undertones and classy direction, which particularly stands out. Combining an ability to keep us interested with the snappy, modern style which he has brought to the movies today - this film is a gripping account and a very comprehensive display of Soderbergh's impressive arsenal of film knowledge, understanding and talent.
    bob the moo

    Involving, informative and unbiased look at the drug problem

    In Mexico Officer Javier Rodriquez Rodriquez is stuck in the middel of a country where the drug dealers and the police work hand in hand and murder is rife. In the USA the head of one of the cartels Javier is trying to close is taken to court by the DEA who have an informant (Eduardo Ruiz) in the custody of Agents Montel Gordon and Ray Castro, leaving his wife, Helena, to take care of his business. Over all this a new drug czar is appointed who begins to find that the war on drugs is not as simple as it seems and that it is a war raged in his own home.

    Based on the channel 4 series Traffik this is an open-minded intelligent look at the war on drugs. Looking at the problem across several interlinking stories allows us to hear everyone's side – to see the internal problems in Mexico, to see the futility of the DEA's actions even to see the scope of the problem facing the US political machine as it tries to fight a war against the drugs trade on all sides. The stories are told with out over doing it – action happens without pomp or fanfare, explosions happen in silence, killings are brutal, swift and final. This is not an action movie. The thoughtful nature means the film moves slowly and, if you're not used to following stories then it may frustrate you. However those wishing something to get you thinking, during and after the film should be rewarded.

    The film is intelligent far beyond the subject matter. The direction and editing is perfect. The scenes in Mexico are all yellow and washed out – giving a desolate feeling, the scenes in political America are given a blue hue to give a colder, detached feel to the business while the scenes with the DEA are noticeably bright and realistic. This is typical of the intelligence put into the film – it rewards you the more you watch it. The casting is another example of how right the film is.

    Del Toro is perfect – he gets the moodiness spot on but also has a fun side to his character. Cheadle and Guzman are as good as they always are and play off each other well – they have an element of the `buddy cop' couple without becoming caricatures. Douglas is really good – how often can you say that!? His young wife is also very good – I expected her to be the weak link but she gave a good performance. These are the main players but really the cast is deep in quality from those that have bigger roles (Quaid, Bratt, Miguel Ferrer) to those that essentially have only a few lines (Albert Finney, Peter Riegert).

    The strength of the film is that it lets you work it out yourself. It never goes one way or the other on the drugs issue and leaves you to decide for yourself what should happen. This is rare in an `issue' film and it should be commended. The film allows long silences for us to think but yet is never boring or dull.

    Overall this is a really good film. It is shorter and more polished than the mini-series it came from, but it is very intelligently done and is though-provoking. Anyone who thinks they are sure of their stance on drugs should watch this – no matter what you think this will highlight the fact that it is a complex problem to which there is no simple solution. Excellent.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      The scene in which Michael Douglas takes his trip to the California border crossing to discuss drug interdiction was actually shot at the Tijuana crossing. The video and sound quality are so low in part because it wasn't intended to be part of the movie. Douglas, out of character, started asking Rudy M. Camacho about drug trafficking on the border. At the time, Camacho was the real-life Customs chief in charge of the California border crossings. Steven Soderbergh began filming it with a hand-held camera, praying that Camacho wouldn't address the actor as "Mr. Douglas".
    • Erros de gravação
      Francisco Flores has distinctive wounds on his left cheek and forehead when first shown in surveillance photos, but those wounds are only visible after he is tortured by General Salazar's men, long after the photos were taken.
    • Citações

      General Ralph Landry: You know, when Khruschev was forced out, he sat down and wrote two letters and gave them to his successor. He said - "When you get yourself into a situation you can't get out of, open the first letter, and you'll be safe. When you get yourself into another situation you can't get out of, open the second letter". Well, soon enough, this guy found himself into a tight place, so he opened the first letter. Which said - "Blame everything on me". So he blames the old man, it worked like a charm. He got himself into a second situation he couldn't get out of, he opened the second letter. It said - "Sit down, and write two letters".

      Robert Wakefield: [laughs] Yep.

    • Cenas durante ou pós-créditos
      There are no opening credits except for the film's title in the lower left corner.
    • Versões alternativas
      The Criterion Collection DVD is presented in 1.85:1, whilst the Criterion Blu-ray is presented in 1.78:1. According to the Blu-ray insert, the latter is the director's preferred ratio.
    • Conexões
      Featured in Siskel & Ebert & the Movies: Cast Away/What Women Want/Finding Forrester/Traffic/All the Pretty Horses/Before Night Falls (2000)
    • Trilhas sonoras
      Give The Po' Man A Break
      Written by Fatboy Slim (as Norman Cook)

      Performed by Fatboy Slim

      Courtesy of Astralwerks Records

    Principais escolhas

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    Perguntas frequentes

    • How long is Traffic?
      Fornecido pela Alexa
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    Detalhes

    Editar
    • Data de lançamento
      • 16 de março de 2001 (Brasil)
    • Países de origem
      • Alemanha
      • Estados Unidos da América
    • Idiomas
      • Inglês
      • Espanhol
    • Também conhecido como
      • Tráfico
    • Locações de filme
      • Cincinnati, Ohio, EUA
    • Empresas de produção
      • The Bedford Falls Company
      • Initial Entertainment Group (IEG)
      • USA Films
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 48.000.000 (estimativa)
    • Faturamento bruto nos EUA e Canadá
      • US$ 124.115.725
    • Fim de semana de estreia nos EUA e Canadá
      • US$ 184.725
      • 31 de dez. de 2000
    • Faturamento bruto mundial
      • US$ 207.515.725
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      2 horas 27 minutos
    • Cor
      • Color
    • Mixagem de som
      • DTS
      • Dolby Digital
      • SDDS
    • Proporção
      • 1.85 : 1

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