Nadie conoce a nadie (1999)

Director:

Mateo Gil

Writers:

Juan Bonilla (novel)
Mateo Gil (writer)

Release Date:

26 November 1999 (Spain)

Genre:

Romance | Thriller

Plot:

Amid the spectacular festivities of Holy Week in Seville, an aspiring novelist stuggles with his work...

Plot Keywords:

Explosion | Crossword Puzzle | Talking Computer | News Reporter | Game Of Death

Awards:

1 win & 2 nominations

Cast

Eduardo Noriega	...	Simón Cárdenas
Jordi Mollà	...	Sapo
Natalia Verbeke	...	María
Paz Vega	...	Ariadna
Pedro Álvarez-Ossorio	...	Padre Andrés
Mauro Ribera	...	Rocha
Jesús Olmedo	...	Brujo
Críspulo Cabezas	...	Pirata
Joserra Cadiñanos	...	Dinamitero
José Manuel Seda	...	Capa
Richard Henderson	...	Hernández
rest of cast listed alphabetically:
José Cantero	...	Presidente
Anne de Luz	...	Madre de Sapo
Petra Martínez	...	Encargada del Archivo de Indias
Pablo Matilla	...	Capillita - Uncredited
Manuel Morón	...	Jefe de redacción
Joaquín Notario
Juan Carlos Roldán	...	Presentador
Lucio Romero	...	Hermano mayor
José Salas	...	Sacerdote
Silvia Sánchez	...	Reportera
Agustín Ustarroz	...	L. Vázquez

Also Known As:

Nobody Knows Anybody (International: English title)

MPAA:

Rated R for some strong sexuality, violence and language.

Runtime:

Colombia:105 min | Japan:108 min

Country:

Spain

Language:

Spanish

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby Digital

Certification:

Germany:12 | France:U | Japan:R-15 | Spain:13 | USA:R | Australia:MA (TV rating)

Company:

Canal Sur Televisión

Fine example of European commercial cinema

NOBODY KNOWS ANYBODY (Nadie Conoce a Nadie)

Aspect ratio: 2.39:1 (Panavision)

Sound format: Dolby Digital

Unusual thriller from Mateo Gill, in which an unhappy crossword designer (Spanish heartthrob Eduardo Noriega, from THE DEVIL'S BACKBONE and BURNT MONEY) is inadvertently 'recruited' by a sinister organization during Holy Week in Seville, plunging him into a nightmare of serial murder and terrorism, and culminating in a heartstopping sequence at the height of the city's religious festivities, during which Noriega is forced to make the most catastrophic decision of his life.

Gill and cinematographer Javier Salmones frame their widescreen images in a manner which suggests nothing less than cosmic forces at work, rendering the population of an entire city culpable in the moral destruction of an unwitting hero (illustrated by an extraordinary sequence in which Noriega is pursued by hooded figures through narrow back-streets lined with tourists who simply stand back and gape as hunters and quarry engage in a battle with toy ray guns!). The reason for all this mayhem stretches credibility, but the film - based on a novel by Juan Bonilla - is crafted with technical precision, and distinguished by an extravagant music score by Gill's longtime associate and fellow filmmaker Alejandro Almenábar (OPEN YOUR EYES, THE OTHERS), designed to convey the central character's growing isolation as he falls ever deeper into a city-wide conspiracy. A fine example of European commercial cinema, with scenes that rival Hitchcock or Argento at their most creative.

(Spanish dialogue)