TIFF 2019: Pain and Glory Review
Director Asghar Farhadi's riveting drama is a moral fable disguised as a potboiler that pulls the strings on a deceptively familiar premise.
A conversation with Spanish director Nacho Vigalondo, the director of the giant monster dramedy Colossal.
Enter for a chance to attend the World Premiere of [REC] 4: Apocalypse at TIFF's Midnight Madness, courtesy of Dork Shelf and eOne Films!
Juan Carlos Fresnadillo’s new horror film Intruders seems to be an attempt to bridge British and Spanish horror motifs: the haunted house of the former, and the significance of children of the latter. Unfortunately, it doesn’t quite succeed. The premise is fairly strong: parallel stories are told, one of young Juan in Spain, who invents […]
The Skin I Live In is a hypnotizing feat, a contemporary reflection of The Brain That Wouldn’t Die resulting in a Frankenstein tale making sweet, Spanish love to body politics. Almodóvar is gently taking us by the hand down and leading us down a trail of science gone mad, and it feels as classically minded as it does completely original.-
There is a particular subgenre of kitschy horror film that comes out of countries like Spain and Italy. Usually something to do with some dark legend, a dark devil, and a group of hot young people who get caught up in the madness. Spanish director José Luis Alemán continues with his Valdemar series in La Sombra Prohibida, based on H.P. Lovecraft's work. You have the ingredients for a cult Spanish horror film, but unfortunately the film doesn’t entirely work out.
Shot in just under 10 very long takes, Vivas’ Secuestrados tells the story of a wealthy family who, having just moved into their new home, are held hostage and robbed by three masked men. No harm seems intended for the victims, until one of the thieves’ psychotic personality starts to show itself, and the father of the family attempts to get help. Then all hell breaks loose.
Eugenio Mira’s second feature is a strange but rare and beautiful bird. A blend of espionage thriller, gothic romance, and fantasy, the title refers to a neurological disorder in which the brain cannot properly interpret visual and aural stimuli, and thereby cannot tell faces and voices apart.
While Guillermo del Toro might not have directed a film in a while, he has not been idle. His producing credits show a devotion to and invigoration of the Spanish film industry, in particularly in the horror and thriller genre. Following in the footsteps of his success with The Orphanage, del Toro has produced Guillem Morales’ latest thriller Julia’s Eyes.
The films of Alejandro González Iñárritu (Amores Perros, Babel) have never quite sat right with me. Although he has the ability to weave together multiple storylines and characters in seamless and intimate ways, his need to create the absolute worst possible scenario at almost every turn leaves me incredibly frustrated. Perhaps this has been because […]
In the immediate Post-Franco era, Spanish film set out to explore and perhaps heal the trauma of the near-half century of fascist rule. In the 1990s, though, a new crop of filmmakers began to move away from social realism and explore the contemporary Spanish character, in particular through the fantastic genres (horror, sci-fi and fantasy.) […]
The past few years have seen Spanish horror burst onto screens around the world thanks to some fairly high-profile Spanish directors making films in Hollywood, and Spanish films being remade for US audiences. [REC] was remade into Quarantine, though there is no news on whether Quarantine 2 will be made (I haven’t seen it, preferring […]