Detrás del dinero, de Alejandro González Iñárritu

The scouts

Early Iñárritu doing a TV pilot heist? Sounds respectable until you realize it's actually a curiosity—competent but unchallenging, the kind of genre exercise that proves why he had to blow up narrative later to matter.

A 1995 calling card that announces itself through discipline: shot on film when video was cheaper, structured like classical television but with the formal restraint of someone already thinking in frames and duration—you can see the lineage forming, the craft awareness that would define his later work.

The decision to shoot 35mm on a TV budget in mid-90s Mexico isn't flashy, but it's the move that separates this from a dozen other crime pilots—that commitment to image over convenience is what lets the tension breathe.