Film
Collision Course
A Spanish heist film where a bank robbery's violent getaway becomes the catalyst for unraveling the conspiracies and resentments binding its criminals together. Tense, character-driven, operating in that space where crime thrillers become studies of trust and betrayal. For anyone who finds the job itself less interesting than what it reveals about the people doing it.
If you liked this
Hell or High Water2016
A modern Western about two brothers robbing banks to reclaim their family ranch. Like Collision Course, the heist is almost incidental—what matters is the web of loyalty, desperation, and damage underneath.
But If you're after pure action and momentum, this deliberately slows down to sit with its characters' internal lives in ways that might feel static.

A Prophet2009
A French prison drama where a young man arrives inside with nothing and builds power through manipulation, violence, and selective trust. The same DNA of watching someone navigate a criminal world while their alliances crumble.
But It's grim, deliberate, and occasionally brutal in ways that feel documentary-like rather than thrilling. Long at nearly 3 hours.

City of God2002
Brazilian favela crime epic told through multiple perspectives, showing how circumstances and betrayal create criminals rather than heroes. Explosive, kinetic energy wrapped around deeply human collisions.
But The style is maximalist—fast cuts, overlapping voices, a visual assault. Some find it exhausting rather than exhilarating.

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The wildcard
Something you would not have found on your own.
Police, Adjective2009
Both use crime as a prism to examine how institutions and relationships fail from within; both suggest that systems are more corrupt than individuals.
A Romanian police procedural where language, law, and moral authority corrode under scrutiny. A heist film turned inside out—investigating crime reveals how institutions themselves betray their own. Meditative, radical, unforgettable.
But Nearly three hours of bureaucratic conversations in Romanian with no subtitles initially seems designed to repel. The payoff is intellectual rather than visceral.

More like this (8)
The Drop2014
A Brooklyn barman gets caught between the mob and circumstance. Quiet, atmospheric, more interested in the weight of complicity than spectacle. Tom Hardy's restraint is the entire point.
But Nothing much happens by conventional standards. If you need plot momentum, this will feel like watching someone slowly realize they're trapped.

Sexy Beast2001
A retired criminal's quiet life in Spain is destroyed when an old associate arrives. Beautifully shot, surreal, a masterclass in how violence and coercion poison relationships and psyches.
But The pacing is glacial and intentional; some scenes feel more like dread-filled paintings than narrative. Ben Kingsley's performance is aggressive in ways that can feel abrasive.

In the Fade2017
A woman investigating a terrorist attack that killed her son, slowly discovering nothing is what it seemed and everyone she trusted carries hidden motives. Crime thriller as existential crisis.
But Deliberately paced, morally complicated, and bleak. It offers no catharsis, only the slow realization that violence compounds endlessly.

A Simple Favor2018
Two women's friendship implodes when one disappears, revealing layers of deception and darker motivations. Glossy, darkly funny, and structured around betrayal as a plot engine.
But Tonal whiplash between thriller and comedy might feel confused rather than clever. Some threads don't land as payoffs.

The Gentlemen2020
A crime lord's attempted exit from the marijuana business triggers a cascade of double-crosses. Witty, intricate, full of characters nursing old resentments and nursing grudges into the present.
But The ensemble cast and nested stories can feel overstuffed. If you prefer clarity over clever, the narrative juggling acts might frustrate.

Killing Zoe1993
An American safecracker joins a Parisian bank robbery that unravels into violence and betrayal. Raw, stylish, genuinely nasty in ways most crime films sanitize away.
But It's genuinely unpleasant—sexually graphic, brutally violent, with characters behaving monstrously. Not entertainment, more like watching something you shouldn't.

Ratcatcher1999
Both use a catastrophic event (crash/strike) to expose the fault lines already present in relationships; both suggest people are trapped by circumstances larger than themselves.
A Scottish boy navigates poverty, friendship, and complicity during a garbage strike. It's structured like a crime film—small betrayals accumulating into moral weight—but operates as haunting poetic realism about childhood. Devastating.
But Not a thriller. Slow, metaphorical, and genuinely tragic. The violence is psychological rather than physical, and the end offers no redemption.

Panic Room2002
Both place ordinary people inside criminal events and use proximity to violence to strip away illusions about who these people actually are beneath circumstance and performance.
Jodie Foster trapped in her apartment's security room during a home invasion by criminals who aren't what they seem. It's a heist thriller told from the victim's perspective, all tension and confined spaces and the slow revelation that everyone involved is desperate and compromised.
But Relies heavily on procedural logic that sometimes strains credibility. The third act pivots into more conventional action in ways that deflate the claustrophobia.

People
Cast
Laia CostaCarla Mencía
Karra ElejaldePedro
Luis ZaheraErnesto
Tamar NovasTomás
Álvaro CervantesRaúl
Lluís HomarLuis
Directing
- Daniel Sánchez ArévaloDirector
Writing
- Daniel Sánchez ArévaloWriter
- Ramón CamposWriter
Production
- Ramón CamposExecutive Producer