A young man, Marco, working as a butcher, accidentally kills a taxi driver. His girlfriend Paula wants to go to the police so he has to kill her too. He then has to kill his brother, his ... See full summary »
Sex and politics collide in this tale of forbidden love, blackmail and murder. Set up by the secret police to compromise a prominent politician, a teenage hustler discovers himself ... See full summary »
Eloy de la Iglesia
María Luisa San José,
José Luis Alonso
After finishing a strict and traumatizing education at a Jesuit seminary, young Roberto is offered a post by the priest of his village: The local count is looking for a new teacher for his ... See full summary »
Eloy de la Iglesia
Pedro Mari Sánchez,
Perhaps Eloy Inglesias' weakest film, but it's certainly not bad
This is another film by interesting Spanish director Eloy Inglesias. It might be the least interesting of the four films of his I've seen, but it has the same themes that seem to run through all his work--apartment living, voyeurism, domestic murder, and repressed homosexuality. It also features two of his regular actors Vincent Parra ("Cannibal Man) and Carmen Sevilla ("The Glass Ceiling"). Sevilla plays a high-priced call girl who herself is keeping a younger male lover. She comes out the door of her luxury high-rise apartment one day and witnesses her neighbor (Parra) dropping a body,apparently his wife, down the elevator shaft. This may seem like another knock-off of Hitchcock's "Rear Window" (which Inglesias had already "knocked off" in his film "The Glass Ceiling"). But it goes in a different direction when the man kidnaps her at gunpoint and forces her to help him get rid of the body. A strange relationship develops between them.
This movie is pretty illogical as Sevilla's character passes up several opportunities to turn her neighbor in, even before she develops a Stockholm-syndrome-type relationship with him. There's a twist at the end which is pretty ridiculous, but certainly unexpected. It's really this absurdity though that marks this as a kind of Spanish giallo (an "amarillo"?) since it lacks the over-top delerium of most Italian-Spanish gialli, and is a little more of a subdued character study. If it were more logical, it would be much more in the realm of Hitchcock or Claude Chabrol than in the realm of the gialli.
Inglesias also dials back the homoeroticism a little here. Unlike in "Cannibal Man" there is no intimation that his male characters are closeted homosexuals. Sevilla in some ways may perhaps be a kind of female stand-in for the gay director, and he certainly fetishes the two male actors, who frequently appear shirtless while the beautiful Sevilla (to the disappointment of heterosexual males everywhere) does not. This is probably the weakest of Inglesias' films that I've seen, but it's certainly not bad.
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