And without understanding the connections between the characters, we can't engage with the story.
In Spain, Luisa (Lopez de Ayala) is trying to help her young son Juan (Corchero) cope with terrifying nightmares of a hooded, faceless man who invades his room at night. Juan calls him Carahueca, or Hollowface, and gets no help from the kindly local priest (Bruhl). Meanwhile in England, John and Susanna (Owen and van Houten) have no idea how to help their 12-year-old daughter Mia (Purnell), who is paralysed by fear that Hollowface is coming to get her too. And her counsellor (Fox) recommends something that seems to make everything worse.
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Juan is an 8 year old boy living in Madrid who loves to tell stories using his vivid imagination. At night, his sleep is disrupted every night by increasingly horrific dreams. His mother is concerned that his storytelling is providing the fuel for these dreams and doesn't believe what Juan tells her; that a faceless demon is appearing to him every night. As his health declines, Juan's mother starts to realise that Juan is not being haunted by an imagined threat brought on by nightmares, as she first thought but an all too real danger that could put an end to Juan's life.
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Mad Love tells the sordid tale of Joan/Juana of Castile (Pilar López de Ayala), daughter of King Ferdinand and Queen Isabella (the married monarchs who financed Christopher Columbus's boat ride to the New World in 1492). Juana ends up in a political marriage to Philip the Handsome (Daniele Liotti), the Archduke of Austria. Despite the arrangement, the couple manages to find a hidden mutual attraction. The result: six children. By this point, Juana is completely head-over-heels in love with Philip to the extent that it's obsessive. But Philip becomes noticeably indifferent toward his wife, dabbling in numerous adulterous affairs. Of course this adds to the increasingly insane jealously of Juana. An apparent emotional wreck, Philip's wife is due for a breakdown, and Philip looks to declare poor Juana legally insane and incarcerate her, thus giving him and his father a shot at the throne. But soon enough, Isabella dies, Philip dies, Ferdinand dies, and Juana gets shipped off to live in isolation before also dying, 40 years later.
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Fractured into two narratives that take far too long to come together, this stylish boogeyman...