The story takes place in 1999, the Year of Destiny, and the beginning of the end of the world. The future of the universe rests on one young man, Kamui Shiro, who must destroy either the ... See full summary »
When an Archaeology student and her friends discover a Nazi bunker called 'Valhalla', their search for stolen pieces of art becomes a nightmare. The place is guarded by a hideous beast, and they find themselves running for their lives.
Manu Aranguren is the contact person from the Spanish government in the negotiations with terrorist group ETA. But the dialog is influenced by errors and chance, leaving the personal relationships of the negotiators as key to its outcome.
8 June, 2013. 800 people enter an abandoned cinema in Barcelona to project a documentary film. The old building is renamed as "Cinema Patricia Heras" in honor of a girl who committed ... See full summary »
Luis Marias' director debut is a solid noir that demonstrates once more his ability as a writer to create charismatic characters and well plotted stories.
This is a classical noir story, intriguing until the last minute, precise, violent and complex: there's an alcoholic police detective (excellent Antonio Resines), the anguished anti-hero without memory who investigates a crime he may have committed after a monumental hangover; there's that femme fatale (Abascal, great actress) too, the victim's sister, hurt in her leg and in her past; a bag full of money stolen from an expeditive gang; a fallen-from-grace actress (recuperated Esperanza Roy, she may start a new career after her solid performance)that witnessed the crime and takes advantage from it to blackmail the troubled detective...
Sound familiar? Maybe, but Maria's update all this recurrent items and constructs a neo-noir thriller with its own personality, following the Spanish noir tradition that director Enrique Urbizu renewed in the eighties with "Todo por la pasta".
As far as the direction is concerned, Luis Marias puts together some good moments (the film start, so concise; the recurrent X motive - a reference to Hawks' "Scarface"? -, above all in that beautiful image of Resines and Abascal in a railway intersection; the desolating ending) and shows enough competence to keep up the tension along the film.
I'd say we can expect notable things from him in the future!
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