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Google English Hustlers means scammers. Or, if necessary, scammers, in female. But the term used by director Lorene Scafaria to headline her latest and vibrant work goes beyond. A lot more. In 1961, Robert Rossen named his vivacious protagonist of the film that would end up being in Spanish 'El Buscavidas'. And indeed, there goes. Hustler is a basically restless person, but he is also a chapero, a prostitute or someone who, we have arrived, is looking for life on the street. Few terms so dear in hip-hop. Well, all that polysemy fits in the film that has come to revolutionize Toronto and returns to the forgotten (as far as the cinema is concerned) Jennifer Lopez to the front line of fire. In the most rigorous of the senses. It is already spoken of as the first Hispanic with real options to that Oscar who, in order, has escaped Fernanda Montenegro, Salma Hayek, Catalina Sandino Moreno and, last year, Yalitza Aparicio .

And indeed, the movie is that: polysemic. Designated from the first second as the feminist film in the post MeeToo era of a festival that for the first time reaches 37% of directors, its proposal is anything but obvious. Says Scafaria, expert cartoonist of female portraits in films like 'An imperfect mother' , that his is not "a story in black and white" and that the surprise at his proposal is a product simply of the little habit we are going to see on screen "movies about women who do questionable things". And he adds: "A feminist film does not necessarily have to present women as perfect heroes or moral models." And there, polymemically, he leaves.

Not to be missed, 'Hustlers' (which in Spain will receive the white and little polysemic title of 'Wall Street Scammers' ) is based on a 2015 article published in 'New York Magazine'. The story of striptease dancers is told from the very casual and perhaps even debatable point of view of their accelerated success in the best moments of financial deregulation. They succeed on the back of junk bonds and cocaine, and they take their part by literally teaching their asses. Glamorization of the semi-prostitution? Justification for sexual exploitation? Let everyone make their decisions and bets. Jennifer López's first screen appearance leaves no choice. A rhythm of 'Criminal', by Fiona Apple, is displayed as never before on the bar. 'Pole dance' they call it. The avalanche of adjectives have not been expected. From electric to everything that comes after.

And so on until the crisis of 2008. Then, with the sunken markets and empty clubs, the partners change their strategy. Now, the business consists of drugging, stealing and cheating men. "This country is a huge strip club. You have people throwing money and people dancing at their own pace," says Lopez's character and rarely has such a tight definition of capitalism been heard. And now the questions that baffle, ambiguities and, since we are, polysemies. Are they entitled to a fair revenge, let's call it hetero-patriarchy through simple crime or abuse? Can feminism have as its only aspiration the most expensive of Louis Vuitton bags? Is it all the whole fault of the system, as one of the characters openly says as a moral?

In a public interview and, aware of the soft terrain, Constance Wu , the other protagonist, said the film was feminist. And period And he justified it: "Everything depends on how you define feminism, but in my opinion it has to do with equality. In this film we give life to women who have been humiliated by society and treated as objects. And they rebel against it. Feminism has to do with humanity. " The critic of 'Indiewire', Kate Erbland , for example, and after praising the "wildly entertaining" rhythm, speaks in her text of slippery arguments and ambiguous answers. That after pointing out that the film does not offer easy answers and that it boasts enough intelligence not to draw conclusions instead of the audience. The critic, however, of 'The New York Post', Sara Stewart , more skeptical, discusses the heroic tone with which the commission of a crime is handled. And so.

Bechtel's famous test to indicate how civilized a story has as conditions that appear more than two female characters, who talk to each other and do not make men. Everything is done by 'Hustlers'. The problem perhaps is that the topic of conversation now is money, jewelry, chinchilla coats and needle shoes with vertigo. Rare way to question a system based on exacerbating it. But, and as the director says, grace is in ambiguity. And there nobody wins 'Hustlers', without a doubt the best conversation argument in this Toronto after the MeToo.

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