Fantastic Fest: Industrial gangster action marathon Luger offers rapid fire… everything

Courtesy Fantastic Fest

Fantastic Fest 2025 is taking place in Austin, Texas right now, and the yearly indie/genre film fest has a bunch of cool, killer premieres. These films are either headed to theaters soon or are looking for distribution. Our film writer, Adrian Torres, is covering the new releases. Catch up on all these previews right here.

Bruno Martin’s Spanish crime film Luger makes its industrial backdrop a character in its own right—a city as lead role. The film opens in Industrial Site Santos 117—dubbed “the largest industrial area in Europe”—where tranquility quickly gives way to chaos following the news of a rare relic enticing the local criminal underbelly.

At the center of the story are Rafa (David Sainz) and Tino (Mario Mayo), two low-level fixers employed by the resolute lawyer Angela (Ana Turpin). Freshly released from a lengthy prison sentence, Tino embraces the thrill of freedom, while Rafa contemplates a fresh start in Australia, lured by the promise of “tranquility.” Their mundane assignment of retrieving a stolen car for Angela’s client, Juan (Ángel Acero), spirals into a gripping narrative filled with treachery, moral conflict, and a mysterious safe housing a Nazi Luger that turns the industrial landscape upside down.

From the outset, Luger offers the grit of 1970s gangster films, intertwined with the stylistic flair of Guy Ritchie’s early work, particularly Snatch. The rapid dialogue, rugged figures, and an underground network of thieves create palpable tension at every turn. However, director Martin’s artistry lies not only in the film’s visual aesthetic—a wash of muted tones—but also in the depth of those people who inhabit the screen.

Rafa stands out as the film’s most compelling figure, grappling with the prejudices he faces as a native of the Canary Islands, living in Madrid. Rather than being viewed as a threat, he often finds himself underestimated, relying on his keen intelligence to navigate the complex and uncertain environment. More often than not, he’s able to sniff out danger before everyone else realizes it.

The film’s supporting cast is just as vibrant, showcasing a range of eccentric characters that populate Santos 117, from veterinarians to antique dealers to greasy diner owners. People are desperate to get their hands on the gun. Menacing junkyard owner Jacinto (Ramiro Alonso), who originally possessed the titular Luger, escalates matters when he enlists his associates—stoic Spaniard Charly (Martin) and the volatile Romani Fede (Mauricio Morales)—to take Rafa and retrieve the gun from a pawn shop, leaving Tino as hostage collateral.

While Luger could thrive purely as a crime drama detailing one long chaotic day, Martin and co-writer Santiago Taboada aim higher. They cleverly examine toxic masculinity and the inherent posturing prevalent among the male characters. Most display their bravado through aggression, and the film starkly illustrates how threats to that masculinity are met with either submission or violent outbursts. This portrayal of unchecked aggression provides a compelling framework that deepens the film’s impact.

Achieving such a multifaceted narrative that skillfully blends a riveting crime story with thought-provoking themes in only 90 minutes is no small feat. With its smart writing, richly developed characters, and visceral action scenes, this film warrants a spot on any film lover’s must-watch list. Martin’s impressive directorial debut reveals his potential as a significant voice as a filmmaker, making Luger a film that deserves to be seen and discussed as soon as possible.