A brilliant plastic surgeon, haunted by past tragedies, creates a type of synthetic skin that withstands any kind of damage. His guinea pig: a mysterious and volatile woman who holds the key to his obsession.
This is a beautiful film to look at. Surreal and kitsch, its many homages were maybe a little too obvious - yes, Lang, Melies, even Chaplin. This allegory on Argentinian and German fascism initially buried the real story beneath its look - that of a complex animated commercial. However, as the film progressed, it soon become obvious to me the symbolism of the scars on the family's hands (stigmata), the blind boy who could talk and would save the city / world (Jesus Christ), the boy's single mother (Mary), the young girl (Mary Magdalene), and ultimately the boy on the Star of David, reflected a world in which religion / Judaism / Jesus Christ, vanquished the evils of fascism / Satan.
So maybe a little heavy on the symbolism and allegory, ideas of religion saving the world or prophets dying to save us from our sins are all a little lazy. As many directors have shown, revealing religion for the corrupt and superstitious organisations they really are, can make a much more satisfactory cinema experience; see Bunuel / Fellini / Bergman.
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