Drying Fruit In The Microwave

tachycardia followed two hours more after the film was one I got after this viewing.

And yet, I could not see him.

My curiosity had been affirmed by three names associated: Guillermo del Toro, Belen Rueda and Luis Homar. Could not escape them even if I wanted. Even the meanest of my wishes would not let me.

And so I entered the horror of Guillem Morales, the director, the culprit of the three hours I experienced with the heart beating in an unusual pace, who does not cease to demonstrate - through a film that is taken far beyond the necessary footage, "it is possible to experience the horror without blood shed everywhere.

Penetrating erotically charged scenes in the midst of the horror that is terribly disappointed do not keep seeing Luis Homar who has appeared as significant, though diminished in time. Homar, impregnated always that unmistakable erotic aura that exudes in each of their eyes and dialogue is the only one capable of giving the few respites that history requires.

And precisely these respites to be close to zero on a story in which Julia conflicts are linked in a seemingly endless string of unfortunate events, generate a high voltage far to be contemplative, except in rare scenes, "which Mephistopheles engender drug addiction.

One of the best lighting scenes that had not seen in a long time, caught my attention in which the light comes from an old camera and it will flash next to the central character's desperation. A scene that will have dual invaluable as you can be appreciated by lovers of art, and simultaneously suffered by the common viewer.

A brilliant technical composition, in which unusual flat, make a visual feast of the wide range of possibilities in which the camera can be in profit and not at the expense of history, which hides certain planes or objects, precisely because we fear what is not.

And if faith is the substance of things not seen, then, Julia suffers from a blind-faith and non-literal in that you can find the alleged "murderer" of his sister. Julia's character questions the viewer whether or not it is necessary to repeat the story of his sister as they may pursue a similar fate with the same degenerative disease of the sense of sight, which makes easy prey of reality of a potential schizophrenia.

as something there is a very personal nod to "Psycho" from Hitchcock that seemed excessive and ineffective, making the plausibility of the script invariably falter in the end, but then the film is saved by Morales' ability to take it up suspense. Dialogues

fluctuate between eroticism, poetry and horror ; memorable performances both as Belén Rueda Luis Homar, and in spite of some overacting in a secondary and a longer length than necessary a cinematography and dark greyish , technical leadership and horror that swarms everywhere addiction converge to position the film as a gem for cinema.

An unmistakable sign of when the commercial cinema and art intermingle to seduce any audience. And a policeman essential to note that excessive amounts of blood sprouting is not the only one who can produce a tachycardia.

Scene not to be missed: Do not worry, do not want to miss one.

My recommendation: if you are prone to heart problems refrain from viewing.