My review was written in July 1981 after a Times Square screening:
"Atrapados" is an imaginative, nearly unclassifiable U. S. indie picture. Made by tyro filmmakers of different national backgrounds, film was shot in Spanish to reflect the Puerto Rican background and milieu of its New York City leading players but deals with universal themes.
After an atmospheric opening pre-credits setting up the world of a boisterous but rundown Hispanic slum, scene switches to the confinement of Alba's (Sonia Vivas) basement apartment in a high rise. While visited by a plumber, Carlos (Julio Torresoto), an above-ground disaster occurs, trapping the duo below ground in the rubble, cut off from the rest of humanity.
Alba is a mystic, a student of "macro-micrology", who does not believe in death, endings or beginnings but rather a continuity of existence. She argues that one exists forever on a molecular level. Carlos is a fat, self-centered pragmatist who scoffs at most of Alba's ideas, spending his time trying to dig an escape tunnel and in catching rats to supplement their diet of canned vegetables.
Despite their wranglings duo eventually get together in their confinement, producing a baby which turns out to be mutant, born dead and with no sexual organs. This supports their guess that a nuclear war was the cause of their being trapped, and that they may be its only survivors. Though Carlos eventually dies this is seen as a freedom from his previous plane of existence and film ends with Alba merging with the cosmos.
First-time director Matthew Patrick, himself of mixed Japanese and American parentage, brings a wide range of technical ideas and skills to keep "Atrapados" challenging the viewer. Doubling as his own cameraman, Patrick shoots the underground footage in black and white, presented with various tints and occasional segues into color. Lighting and excellent sets keep the claustrophobic world interesting, with numerous flashbacks and fantasies by the duo of their families and lives outside presented in color for contrast and effective comedy relief. Animated outer space montages are used to illustrate various mystical speculations.
Puerto Rican actor Julio Torresoto provides an arresting screenplay which integrates philosophical notions into a gripping, personal drama. His acting performance is also remarkable, as thesp sheds over 100 pounds over the course of shooting, transforming physically as well as spiritually. Sonia Vivas is a forceful Earth mother opposite him, delivering the Torresoto-penned mystical dialogue with conviction.
Tech credits overcome a low budget with imagination and Patrick's visuals should sustain a blowup to 35mm. Score includes evocative electronic music by John Peterson plus salsa numbers by Cahunto Classico.
Definitely a specialized film, "Atrapados" could find an audience on the Spanish-language and art house circuits, as well as with fantasy buffs. Backing from the American Film Institute and National Endowment for the Arts helped get this unusual effort off the ground.
"Atrapados" is an imaginative, nearly unclassifiable U. S. indie picture. Made by tyro filmmakers of different national backgrounds, film was shot in Spanish to reflect the Puerto Rican background and milieu of its New York City leading players but deals with universal themes.
After an atmospheric opening pre-credits setting up the world of a boisterous but rundown Hispanic slum, scene switches to the confinement of Alba's (Sonia Vivas) basement apartment in a high rise. While visited by a plumber, Carlos (Julio Torresoto), an above-ground disaster occurs, trapping the duo below ground in the rubble, cut off from the rest of humanity.
Alba is a mystic, a student of "macro-micrology", who does not believe in death, endings or beginnings but rather a continuity of existence. She argues that one exists forever on a molecular level. Carlos is a fat, self-centered pragmatist who scoffs at most of Alba's ideas, spending his time trying to dig an escape tunnel and in catching rats to supplement their diet of canned vegetables.
Despite their wranglings duo eventually get together in their confinement, producing a baby which turns out to be mutant, born dead and with no sexual organs. This supports their guess that a nuclear war was the cause of their being trapped, and that they may be its only survivors. Though Carlos eventually dies this is seen as a freedom from his previous plane of existence and film ends with Alba merging with the cosmos.
First-time director Matthew Patrick, himself of mixed Japanese and American parentage, brings a wide range of technical ideas and skills to keep "Atrapados" challenging the viewer. Doubling as his own cameraman, Patrick shoots the underground footage in black and white, presented with various tints and occasional segues into color. Lighting and excellent sets keep the claustrophobic world interesting, with numerous flashbacks and fantasies by the duo of their families and lives outside presented in color for contrast and effective comedy relief. Animated outer space montages are used to illustrate various mystical speculations.
Puerto Rican actor Julio Torresoto provides an arresting screenplay which integrates philosophical notions into a gripping, personal drama. His acting performance is also remarkable, as thesp sheds over 100 pounds over the course of shooting, transforming physically as well as spiritually. Sonia Vivas is a forceful Earth mother opposite him, delivering the Torresoto-penned mystical dialogue with conviction.
Tech credits overcome a low budget with imagination and Patrick's visuals should sustain a blowup to 35mm. Score includes evocative electronic music by John Peterson plus salsa numbers by Cahunto Classico.
Definitely a specialized film, "Atrapados" could find an audience on the Spanish-language and art house circuits, as well as with fantasy buffs. Backing from the American Film Institute and National Endowment for the Arts helped get this unusual effort off the ground.
