IN 1985, a heist shocked Mexico. Thieves broke into the National Museum of Anthropology in Mexico City and made away with invaluable ancient artifacts and jewellery. The number of items stolen and the dexterity with which the crime was committed bore the imprint of an organised and highly-skilled set of robbers. A nationwide man hunt was launched. A few years later, the police nabbed the thieves, who turned out to be two students.
Museo is a cinematic re-imagining of the heist. Juan, a veterinary student living with his family, resents his overbearing father and other family members.He comes up with an elaborate and meticulous plan for the heist and enlists the help of his loyal childhood friend, Wilson. The two pull off the robbery on a Christmas night.
Soon, the entire country is animatedly discussing how the “cowards” stole the “history” of Mexico. Everyone suspects the involvement of an international gang of thieves. Juan and Wilson, meanwhile, frantically search for a buyer.
Directed by Alonso Ruizpalacios, Museo, which won the Silver Bear for best screenplay at the 68th Berlin International Film Festival, is a witty retelling of a real-life crime, interwoven with elements of fantasy and surrealism. The movie does have its tense moments, and an interesting heist sequence, but serves more as the portrait of drifter with no moorings.