
Wild Tales
Synopsis
The film is divided into six segments. (1) "Pasternak": While being on a plane, a model and a music critic realise they have a common acquaintance called Pasternak. Soon they discover that every passenger and crew member on board know Pasternak. Is this coincidence? (2) "The Rats": A waitress recognizes her client - it's the loan shark who caused a tragedy in her family. The cook suggests mixing rat poison with his food, but the waitress refuses. The stubborn cook, however, decides to proceed with her plan. (3) "The Strongest": Two drivers on a lone highway have an argument with tragic consequences. (4) "Little Bomb": A demolition engineer has his car towed by a truck for parking in a wrong place and he has an argument with the employee of the towing company. This event destroys his private and professional life, and he plots revenge against the corrupt towing company and the city hall. (5) "The Proposal": A reckless son of a wealthy family has an overnight hit-and-run accident, in which a pregnant woman gets killed. He wakes his parents up and his father calls the lawyer. The parents propose to pay the groundkeeper to take the blame for the boy. Soon the father discovers that he is a victim of extortion of his lawyer and the public prosecutor in charge of the investigation. What will be his decision? (6) "Until Death Do Us Apart": During the wedding party, the bride discovers that her newlywed husband has been cheating on her with one of the guests, and she decides to pay him back.
Production Budget Analysis
What was the production budget for Wild Tales?
Directed by Damián Szifron, with Ricardo Darín, Leonardo Sbaraglia, Érica Rivas leading the cast, Wild Tales was produced by El Deseo with a confirmed budget of $4,000,000, placing it in the micro-budget category for drama films.
At $4,000,000, Wild Tales was produced on a lean budget. Lower-budget films benefit from reduced break-even thresholds, with profitability achievable at approximately $10,000,000.
Budget Comparison — Similar Productions
• Peter Pan (1953): Budget $4,000,000 | Gross $87,400,000 → ROI: 2085% • Farewell My Concubine (1993): Budget $4,000,000 | Gross $6,400,000 → ROI: 60% • Dersu Uzala (1975): Budget $4,000,000 | Gross N/A • Interstella 5555: The 5tory of the 5ecret 5tar 5ystem (2003): Budget $4,000,000 | Gross $6,664,789 → ROI: 67% • Trainspotting (1996): Budget $4,000,000 | Gross $71,981,823 → ROI: 1700%
Key Budget Allocation Categories
▸ Above-the-Line Talent Drama films live or die on the strength of their performances. Securing award-caliber actors and experienced directors represents the single largest budget line item, often consuming 30–40% of the total production budget.
▸ Location Filming & Period Production Design Authentic locations — whether contemporary or historical — require scouting, permits, travel, lodging, and often significant dressing to match the story's time period. Period dramas add the cost of era-accurate props, vehicles, and set decoration.
▸ Post-Production, Color Grading & Score The editorial process for dramas is typically longer than genre films, with careful attention to pacing and tone. Color grading, a nuanced musical score, and detailed sound mixing are critical to achieving the emotional resonance that defines the genre.
Key Production Personnel
CAST: Ricardo Darín, Leonardo Sbaraglia, Érica Rivas, Oscar Martínez, Rita Cortese Key roles: Ricardo Darín as Simón Fisher (segment "Bombita"); Leonardo Sbaraglia as Diego (segment "El más fuerte"); Érica Rivas as Romina (segment "Hasta que la muerte nos separe"); Oscar Martínez as Mauricio (segment "La propuesta")
DIRECTOR: Damián Szifron CINEMATOGRAPHY: Javier Julia MUSIC: Gustavo Santaolalla EDITING: Pablo Barbieri Carrera, Damián Szifron PRODUCTION: El Deseo, K & S Films, Telefe, Corner Producciones FILMED IN: Argentina, Spain
Box Office Performance
Wild Tales earned $3,106,530 domestically and $28,372,363 internationally, for a worldwide total of $31,478,893. International markets drove the majority of revenue (90%), indicating strong global appeal.
Break-Even Analysis
Using the industry-standard 2.5x multiplier (P&A + exhibitor shares of 40–50% + distribution fees), Wild Tales needed approximately $10,000,000 to break even. The film surpassed this threshold by $21,478,893.
Return on Investment (ROI)
Revenue: $31,478,893 Budget: $4,000,000 Net: $27,478,893 ROI: 687.0%
Profitability Assessment
VERDICT: Highly Profitable
Wild Tales was a clear financial success, generating $31,478,893 worldwide against a $4,000,000 production budget — a 687% ROI. After estimated marketing costs, the film still delivered substantial profit to El Deseo.
INDUSTRY IMPACT
The outsized success of Wild Tales likely influenced studio greenlight decisions for similar drama projects.
PRODUCTION NOTES
▸ Production
In 2007, director Damián Szifron took a break from directing and producing television series and focused on writing. In a 2015 interview, Szifron explained that all the stories are based on real-life situations of people he has known or that Szifron went through himself. From that platform, he gave imagination free rein. In a more recent interview he tells of getting into an argument with another driver, and pulling over to write, immediately, the story that became "El más fuerte". according to Szifron, "they begin as dramas. The humor is a consequence of what these characters feel in a very dramatic situation."
All of the stories are very different; production designer Clara Notari said; "They have their own visual identity, as if each were a different movie, with its own spatial dimensions, colors, style, textures and set decoration". Alfred Hitchcock Presents and The Twilight Zone; With a budget of US$3.3–4.5 million—70% from Argentina and 30% from Spain—Wild Tales had an eight-week filming schedule in April and May 2013 because, according to Szifron, "the script required a desolate route with stunning scenery and degrees of sobriety" to have a contrast between the violence of the fight and the beauty of the environment. When filming concluded, there was enough material for "three different movies with different takes"
AWARDS & RECOGNITION
Summary: Nominated for 1 Oscar. 51 wins & 58 nominations total
Nominations: ○ Academy Award for Best International Feature Film (87th Academy Awards) ○ International Submission to the Academy Awards
CRITICAL RECEPTION
!scope=col| Best of 2014 !scope=col| Rank ! scope="col" class="unsortable"|
Elaine Teng of The New Republic and Nicholas Barber of The Guardian praised Wild Tales as a good example of an anthology film; Teng said it is "the rare anthology movie that transcends the limits of its form". O'Sullivan praised its tone and presentation, while Burr and Mar Diestro-Dópido of Sight & Sound praised its storytelling; Diestro-Dópido said each part makes up "a coherent, exuberant whole". Charles Solomon of the Los Angeles Times was critical of the film's pace, calling it "dreary". Robert Horton from Seattle Weekly criticised it for relying on twists, "a technique that doesn't quite disguise how in-your-face the lessons are", and called the film "a scattering of gotchas".
Jay Weissberg of Variety commented that while "the overall enjoyment rarely flags", "not all the episodes are equally successful". and said to be "superb" by Diestro-Dópido. for her "star-making performance", according to Bruce Ingram of Chicago Sun-Times. While David Edelstein of Vulture.com said the cast is "incredibly credible given the characters' outlandish behavior," Horton was critical of the characterisation, stating characters have "illogical behavior", mostly in the last segment. O'Sullivan wrote; "The protagonists are exaggerated without being caricatures" Puig, Rea and Diestro-Dópido also said the characters are believable and relatable because most viewers would feel familiar with the situations and frustrations the characters experience.
Ariston Anderson from Filmmaker commented Wild Tales is funny and "There is truly never a dull moment" in it. as did Nashawaty because of its "ironic twist endings". Praise was also directed towards Javier Juliá's cinematography; Rooney called the music by Gustavo Santaollala "a terrific spaghetti Western-flavored score".









































































































































































































































































































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