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H6: Diario de un asesino (2005)

Not Rated | | Crime, Horror, Thriller | 7 July 2006 (Spain)
Antonio Frau is a formerly convicted killer who, while having an active sex life with his buxom wife Francisca who also cheats on him with her older doctor, becomes a serial killer/rapist of women.


(as Martín Garrido)

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Cast overview, first billed only:
Fernando Acaso ...
Antonio Frau
María José Bausá ...
Francisca Seguí
Raquel Arenas ...
Xènia Reguant ...
Sonia Moreno ...
Martín Garrido Ramis ...
Miguel Oliver Escanellas (as Martín Garrido)
Mark San Juan ...
Miquel Sitjar ...
Ruperto Ares ...
Ramón G. del Pomar ...
Curro (as Ramón Del Pomar)
Elena Seguí ...
Soledad Méndez
Antonio Frau 25
Ángel Alarcón ...
Francisca's Father
Dr. Planas


H6 tells the story of Antonio Frau, a serial killer set free after serving 25 years in jail for the violent murder of his girlfriend. After inheriting and old motel from a relative he never knew, he sees this as a signal and takes to his holy task of relieving the grief of those who have lost the will to live. He takes his victims to room Number 6 in the motel where he 'purifies' them, while, at the same time, continues his everyday life next to his wife. A mistake leads to his arrest, and his plan to become rich and famous takes relevance. Written by Anonymous

Plot Summary | Add Synopsis


Entra, no tengas miedo... (Come in, don't be afraid...)


Crime | Horror | Thriller


Not Rated | See all certifications »




Release Date:

7 July 2006 (Spain)  »

Also Known As:

H6: Diary of a Serial Killer  »

Filming Locations:

Box Office


€1,200,000 (estimated)

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Production Co:

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Did You Know?


Selected for the San Sebastian Horror & Fantasy festival 2005 See more »


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Written by Simon Park
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Sintonía, S.A.
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User Reviews

The sort of thing for an all-night horror fest
26 August 2006 | by (United Kingdom) – See all my reviews

H6 - Diary of an Assassin opens with a dark screen. A domestic argument can be heard. Spilling out of the darkness of an apartment into murky, ochre light we see a man abusing and eventually throttling his wife. Hello Antonio Frau, before he learns the self-control needed to become a serious serial killer.

Several years later and he's out of prison, inheriting an old empty building that used to be a brothel. He also picks up a wife, who has corresponded with him in the nick and believes he has reformed. He has. Gone is the anger, the violent reactiveness to situations he can't control. He now has a finely honed mind, free of any non-psychopathic tendencies, and explains to the audience his new calling as a serial killer. He obligingly plans a diary that will include before-and-after Polaroid pictures - for posterity, you understand. We survey his collection of chain saws and other necessary equipment.

The portrait of an unemotional but ruthlessly clinical and intelligent killer hearkens to many movies of this ilk, or popular fiction such as We Must Talk About Kevin. It is not particularly new, but there is always room for a new approach and I was interested to see how the cinematography tackled the subject, whether the scenes of gore would be particularly extreme censor-bait, memorably artistic, or whether it would develop new psychological twists.

Intellectually, the film is fairly shallow, but could still appeal to gore-buffs. Antonio Frau's main raison d'etre is the old 'cleanse humanity of the scum' motive - rounding up prostitutes and other undesirables and purge them with pain before ridding humanity of their presence (all in the name of the Lord). The psychology mirrors the witchfinders of Roman Catholicism, aided and abetted then by a string of ingenious torturers, sexual perverts and willing official and non-official helpers. That age having passed (or at least transformed - the Church no longer having such power in modern day Spain), poor Antonio has to shoulder the divine burden all himself. "The Lord has chosen me for this very special task," he proclaims. The similarity, and the fact that Church brutality against 'witches' was mirrored on Old Testament torture, raises the question of copycat violence for the weak minded.

Antonio's preferred method is to seem kind and generous until he has his victims in his grasp. He has a special room in the old lodging house with a table where he binds women of the night spread-eagled (usually he feeds them first and explains his special sexual needs, offering lots of dosh). Once they are tied up, he rapes them repeatedly, starves them for days, and then (for the good of their soul) hacks them into bits and puts the body parts in black bin bags.

For its economy of images, most of which are above-average though not quite outstanding, H6 - Diary of an Assassin deserves some credit. One of the victims puts in a remarkably good performance as she is raped - the expressions on her face are horrifying. But the film falls short of even its own modest ambition. The camera looks away as limbs are hacked off, and the blood spurts look a little repetitive from one dismemberment to the next. Even more worrying in terms of continuity is the explicit camera shots between the girls' legs that always show neatly arranged panties even as Antonio dismounts.

This film will be offensive to many people for the subject matter. For some horror buffs it will, ironically, be lacking in sufficient realism, at least by today's film-making standards, but there is enough to slake the blood-thirst of most fans of the genre. Others should probably stay away.

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