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Thumbnail for Traffic (2000) Traffic (2000)

Basics Critics:80Viewers:70Rusty:80
Category: Crime, Drama, Mystery/Noir/ThrillerNotable as: Crime FictionSub-Category: Thriller, Crime Fiction, Political drama, Crime Thriller, DramaNarrative location: Mexico, Washington, TexasRuntime: 141 - 147 minutesLanguage: Spanish, EnglishCountry: United StatesFilming location: California, Mexico, New Mexico, San DiegoDirector: Steven SoderberghScreenwriter: Stephen GaghanBased on: TraffikMusic: Cliff MartinezCinematography: Steven SoderberghStars: Benicio del Toro, Jacob Vargas, Tomas Milian, Michael O'Neill, Michael Douglas, Luis Guzmán, Don Cheadle, Miguel Ferrer, Majandra Delfino Producer: Edward Zwick, Marshall HerskovitzStudio: Focus Features, Bedford Falls ProductionsAwards won: Academy Award for Best Director (Steven Soderbergh)
Academy Award for Best Film Editing (Stephen Mirrione)
Academy Award for Best Supporting Actor (Benicio Del Toro)
Academy Award for Best Writing, Adapted Screenplay (Stephen Gaghan)
Award nominations: Academy Award for Best Picture (Edward Zwick, Marshall Herskovitz)Award details: (details at IMDb)

Traffic is a 2000 American crime drama film directed by Steven Soderbergh and written by Stephen Gaghan. It explores the illegal drug trade from a number of perspectives: a user, an enforcer, a politician and a trafficker. Their stories are edited together throughout the film, although some of the characters do not meet each other. The film is an adaptation of the British Channel 4 television series Traffik. 20th Century Fox, the original financiers of the film, demanded Harrison Ford play a leading role and that significant changes to the screenplay be made. Soderbergh refused and proposed the script to other major Hollywood studios, but it was rejected because of the three-hour running time and the subject matter — Traffic is more of a political film than most Hollywood productions. USA Films, however, liked the project from the start and offered the film-makers more money than Fox. Soderbergh operated the camera himself and adopted a distinctive cinematography tint for each story so that audiences could tell them apart.

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