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There are few films as utterly repulsive - but nonetheless distinctive and well-made - as Tras el cristal. This Spanish assault on the senses is the terrible tale of a nazi torturer whose cruel desires for murdering and abusing young boys leads him to attempt suicide. His failure leaves him imprisoned in an iron lung - and us viewers in his grotesque and dirty nightmare. Attended by an assortment of ghoulish figures he deliberates his history. A new nurse is employed, however, who has a special interest in "caring" for this impotent nightmare of an individual. From there the film becomes a black vision of the psychological and physical scars which can destroy individuals and the violent force of tainted memories and shredded, wasted lives. Its a graphic film but doesn't dwell or portray the reprehensible acts of the lead character. It does contain some horrific violence and torture though spares the audience representation of the sexual abuse and more extreme details which the script skirts over. Marisa Paredes - a familiar face from numerous Pedro Almodovar films - is suitably creepy in a small role. This film will get under your skin like a mite and disturb you for quite a while. Its nonetheless memorable and well-constructed but an endurance text for audiences used to much more "clean" treatments of these issues in American films. The film plays like a nightmare and is continuously and utterly bereft of emotion - one of its most disturbing elements amongst many, many others. But this very lack of emotion goes some way to interrogating the consciousness of the terrifyingly blank lead character. It remains banned in Australia and other territories in the early part of the 21st century. While not deserving this fate, it is not a film many will be able to bear I imagine. Its not certain the point and vision of this film goes anywhere but deep inside, rotting the soul's core. In any case, its reputation has assured it will be seen in the wrong context and for the sake of shock. Not that there's anything wrong with that... except this film begs for a more considered approach even if it goes all grand guignol and over the top in its closing 1/3.
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