With a relatively simple idea, this Colombian thriller builds almost unbearable levels of Hitchcockian suspense as a group of flawed people find themselves punished horribly for their mistakes. And filmmaker Baiz takes such a sleek, stylish approach that he draws us into the odyssey from each perspective, making it more harrowing by the minute.
It's set in the capital Bogota, where Adrian (Gutierrez) has relocated from Spain to conduct the orchestra. But he's struggling with the fact that his girlfriend Belen (Lago) has simply disappeared, and as he wallows in his loneliness he falls for barmaid Fabiana (Garcia). When she visits to his country home, she feels something isn't quite right. And sure enough, we cut back to months earlier, when Belen became annoyed by Adrian's constant flirting and plotted with the landlady (Stewart) to spy on him from a secret room in the house. But her plan didn't go as intended, and now things are going to get a whole lot worse.
The film is a bundle of hints and suggestions that work together to create a marvellously oppressive atmosphere. There's a snooping detective and a seductive violinist lurking around the edges, and the landlady has a Nazi past to make things even more intriguing. Meanwhile, Baiz packs the movie with tricky camera work, sudden jolts of thunder and darkness, a cleverly florid musical score, and even a pet dog that seems to understand things the characters don't. All of this works together to obscure the fact that the story itself is rather superficial.
Continue reading: The Hidden Face [La Cara Oculta] Review
Charlotte Rampling puts a dignified face on denial in "Under the Sand," a cinematic meditation on the multitude of emotions that come with the devastating loss of a loved one.
She plays Marie, a 50-something, upper middle-class woman whose comfortable life of familiar rhythms is thrown out of balance when her husband disappears while she's napping at the beach during their regular summer vacation.
Not entirely willing to presume he's drown, and somewhat tormented by the lack of closure, Marie returns to teaching her English Lit class at a Paris university and goes about her life imagining her husband is still alive. At dinner parties she speaks of him as if he stayed at home with a cold that night, which rattles her friends who don't know quite how to respond. When she goes home, she imagines him still there and conjures up daydreams of continued normalcy. When she's making breakfast she pours him coffee. When she's shopping she buys him ties.
Continue reading: Under The Sand Review
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With a relatively simple idea, this Colombian thriller builds almost unbearable levels of Hitchcockian suspense...