A historical drama set in Roman Egypt, concerning a slave who turns to the rising tide of Christianity in the hope of pursuing freedom while falling in love with his mistress, the famous philosophy and mathematics professor Hypatia of Alexandria.
The story of two men on different sides of a prison riot -- the inmate leading the rebellion and the young guard trapped in the revolt, who poses as a prisoner in a desperate attempt to survive the ordeal.
In Lapland Finland, under the eternal midnight sun, two ardent lovers will reunite once again after a long period apart, governed by a powerful and eloquent circular motif that is woven by destiny, faith and love.
In the MARSHLAND a serial killer is on the loose. Two homicide detectives who appear to be poles apart must settle their differences and bring the murderer to justice before more young women lose their lives.
Why is death and violence so fascinating? Is it morally correct to show violence in movies? If so, is there a limit to what we should show? That's the subject of Ángela's examination paper. She is a young student at a film school in Madrid. Together with the student Chema (who is totally obsessed with violent movies) they find a snuff movie in which a young girl is tortured and killed. Soon they discover that the girl was a former student at their school... Written by
Mattias Pettersson <email@example.com>
A promising director: it's what I thought after the screening of Amenabar's first feature. There is a compelling story told with bright creative ideas.
Eventually I felt the first part of the movie was really great and the following went a little under. Sure, it is more difficult to bring all sorts of things together after you built up an exciting suspense. Still you don't feel bored once you are getting to know what it is really all about, but you got more free 'RAM space' to think it over. Perhaps accelerating the rhythm would have kept Tesis on the same high level of suspense. Perhaps it would have been a mistake to change the pace.
Among things you can take away with you is the background theme about our attraction for the morbid. It opens and closes the movie and really gives it one further dimension - one could say it's a bit didactical but it's a least flaw for a first major effort.
Next step Senor Amenabar: a little less personal work (as compared with the experimental Abre los ojos) but still something personal (The Others is the least interesting work so far).
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