![]() It was only once they started work with the actors that the film eventually became the story of two people who felt alone and found. Sorogoyen says that the theme of friendship in the film was secondary until the shooting started. The narrative gets as complex as the characters and increasingly tense. Sorogoyen wanted his audience to like what they saw but be discomfited by the squalor and violence. And when the plot darkens, the film shifts gear with a steady cam and more elegant and gentler framing, and aesthetically, the film get richer. The film tries to plow through the ugliness and closeness between human beings. ![]() The film starts in a documentary style, with a blurry, shaky hand-held camera. “Two policemen chasing a serial killer,” with a plot cliched and unoriginal, director Rodrigo Sorogoyen created a universe with an ecosystem of loneliness, resentment, diabolic violence, grime, and moral ruin. Two police inspectors in Madrid take on a case involving a prolific serial killer as city officials make their preparations for a scheduled Pope visit. May God Save Us is a melancholic, uncomfortable, and asphyxiating thriller. Make sure you catch this intense thriller if you haven’t already. Burnt Money attests to the incomparable voice of Marcelo Piñeyro and has the promise of spectacle. The emotional branch it offers is solid and brawny, and it won’t let you slip. Such nuanced, tender moments cut deep and will make you bleed, something you conventionally won’t expect from a thriller. So, the world never saw the image of two dead men bracing each other, even in their death, until Burnt Money. That happened however, their hands were separated before the official police photographs were taken. For example (*spoiler alert*), the film shows both men die in the siege, holding hands, half-naked and in underwear, in a pool of blood. Though, director Marcelo Piñeyro took minute cinematic liberties to deepen the emotional commitment of the audience. Many even believe that the film is more authentic to the event than the book. It is based on Ricardo Piglia’s 1997 novel of the same name, which was inspired by the true story of a notorious 1965 bank robbery in Buenos Aires. The Orphanage remains his best work to date and one of the greatest Spanish thrillers (or horror, for that matter)! Bayona still needs to outdo himself after all these years. The performances are minimalistic but utterly convincing and expressive. ![]() He didn’t know that her parents let her pick the glass eye as one of the last things she could still see. When Sánchez told the little girl who plays the blind orphan that she had pretty eyes, she replied, “Oh, do you like them? I picked them out myself!”. In 2004, on a chance meeting with Bayona, he discussed the script, and Bayona was instantly interested in making it and turned to his mentor, Guillermo del Toro, to get it made. Sánchez wrote the screenplay in 1996 and wanted to direct it himself, but no Spanish production company was ready to put their money on a virgin director. Also, read: 10 Films to Watch if you liked ‘Afterlife of the Party’ on Netflix Bayona turned this horror into a very internal, submerging, and profound study of grief, something that Mike Flanagan also imbibes immaculately in his horror masterpieces. Though many might categorize The Orphanage as horror, it magnificently works as a thriller also because of its absolutely devoid of cheap scares. The laughs are dark.īielinsky, says he has never studied acting, so his instructions to the actors were something like, “Look, this is not working, but I can’t tell you exactly what to do.” Then with a collaborative approach, they would come to a common ground. This film is about manipulation, with a calculative deadpan comedy. As deceptions and duplicity mount, it becomes more and more difficult to figure out who is conning whom, and we begin to ask ourselves, “Who isn’t a thief?”. It is the story of two small-time swindlers, Juan (Gastón Pauls), and Marcos (Ricardo Darín), who team up after meeting in a convenience store and become involved in a half-million-dollar deal. Made on a shoestring budget, Nine Queens is eminently local yet accessible universally. I preferred the former because I find it awfully original and confidently ambitious. I was in a grave predicament whether to include director Fabián Bielinsky’s first film ( Nine Queens ) or his last ( The Aura, 2005) for the list because I love them equally.
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