Costa (Tosar) is producing a Spanish film that's shooting on location in Cochabamba, Bolivia. Writer-director Sebastian (Garcia Bernal) is insisting on raw authenticity to recount the story of Christopher Columbus' first encounter with Native Americans, and subsequent dealings between locals and the priests and conquistadores. For a lead role, he casts the indigenous Daniel (Aduviri), who spends his spare time campaigning against a British-American corporation that controls Bolivia's water, including poor people's right to collect rain water. And the brewing riot could disrupt the film's schedule.
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Hector (Karra Elejalde) is hungry. His wife Clara (Candela Fernández) is unwilling to make dinner. As she heads out to get some takeaway, he grabs the binoculars and looks out at the forest across from his property. There he sees a young girl (Bárbara Goenaga) removing her clothes. Hiking over to catch a better look, he is attacked by a man whose face is wrapped in blood-soaked bandages. Injured, Hector comes across a building, and a walkie-talkie. On the other end is Chico (Nacho Vigalondo) and he has some bad news -- the mystery assailant is hot on Hector's trail. Suggesting that he come up to the silo lab where he is hiding, our hero suddenly finds himself immersed in a milky liquid in a strange machine. A single jolt later, and Hector has traveled back in time -- a single day -- where he learns from Chico that he must thwart his own future actions to keep the fabric of reality from unraveling.
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The Nameless features some of the worst decision-making you might ever see on film, all intercut with random shots taken from the proverbial Nine Inch Nails video. Stick around to the end and some of this might start to make a little sense (think Rosemary's Baby). Most viewers will probably give up well before the first act is over -- and I couldn't blame you for that.
Continue reading: The Nameless Review