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6.7/10
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A former Nazi child-killer is confined in an iron lung inside an old mansion after a suicide attempt. His wife hires him a full-time carer, a mysterious young man who is driven slowly mad by... Read allA former Nazi child-killer is confined in an iron lung inside an old mansion after a suicide attempt. His wife hires him a full-time carer, a mysterious young man who is driven slowly mad by the old man's disturbing past.A former Nazi child-killer is confined in an iron lung inside an old mansion after a suicide attempt. His wife hires him a full-time carer, a mysterious young man who is driven slowly mad by the old man's disturbing past.
- Awards
- 2 wins & 2 nominations total
Günter Meisner
- Klaus
- (as Gunter Meisner)
Gisèle Echevarría
- Rena
- (as Gisela Echevarria)
Imma Colomer
- Jornalera
- (as Inma Colomer)
Josuè Guasch
- Niño Cantor
- (as Josue Guasch)
Garrett Cassell
- Garcon #2
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
Klaus, a crippled former Nazi doctor is now living out his days in an iron lung, with his wife Griselda caring for him on a full time basis. She resents this fact as she has no time for herself or their daughter Rena. So when Angelo, a young man comes calling claiming to be a nurse she employs him, but soon becomes suspicious of his credentials and she's right to be as he has ulterior motives for taking the position. As a child he had spied on Klaus's killing spree and had in fact taken his notes on killing and hid the body of his last victim, as Klaus in grief had tried to kill himself, which just resulted in him being paralysed. Angelo wants to become just like him and teases Klaus, urging him to give in to his lustful murderous cravings one more time, Klaus denies him but eventually gives in as he is scared his real past will be revealed to his family. Uber disturbing incite into the minds of a dying Nazi killer and a killer in the making, Villaraonga's film explores the dark realms of paedophilia, torture and child killing in a very open way, but without resorting to sensationalism. A hard film to watch, it remains riveting but not for all tastes. The ending is also likely to confuse many.
"In a Glass Cage" has to be one of the most disturbing horror films ever made.The film is extremely intense and so incredibly depressing and powerful in its honest depiction of mankind's failure and instincts towards violence and sadism.The soundtrack is outstanding and the music alone will make the viewer speechless,not to speak the sound of an iron lung that has to be among the most disgusting sounds I've ever heard.The acting is excellent,but there are several truly disturbing scenes of pedophilia and child murder."In a Glass Cage" is a very difficult movie to watch,however you'll also walk away mesmerized by the disgusting beauty of this film itself.Nazi doctor Meisner abused and killed many young boys during war.After a suicide attempt he is now paralyzed and confined to an iron lung.One day,his former victim Angelo comes to work for him as a nurse.However,the revenge he has planned for the cripple is dominated by traumatic perversion.Give this overlooked masterpiece a look.10 out of 10.
A brutally honest commentary on how atroticies can affect a person for life. The film has guilt, revenge, murder, and love all intertwined in a bizarre story. NOT recommend for those easily disturbed, faint of heart, or victims of child molestation.
but I hasten to add, what the director aims to achieve is neigh unattainable.
In the DVD interview, the director says he was inspired by Georges Bataille and that author's study of Gilles de Rais, the French lord who helped Joan of Arc's campaigns, apparently with exemplary Christian zeal, and who later in life became the world's most notorious torturer and killer of children.
Bataille examines human passion with surgical precision. And he doesn't just analyse: his writings evoke the power chords of 'love' that draw their separate ways sinner and saint.
Villaronga's film falls into 'horror' genre mode at key moments in the story's development. If the director could have depicted his characters' behaviour with sustained realism, his film would , like Bataille's work, tell us more about the nature of evil and be indeed a masterpiece of cinema.
As it is, 'In a Glass Cage' is most beautifully realised with remarkable actors and isn't, finally, altogether a 'horror' film: there's enough realism to give us cause for thought.
In the DVD interview, the director says he was inspired by Georges Bataille and that author's study of Gilles de Rais, the French lord who helped Joan of Arc's campaigns, apparently with exemplary Christian zeal, and who later in life became the world's most notorious torturer and killer of children.
Bataille examines human passion with surgical precision. And he doesn't just analyse: his writings evoke the power chords of 'love' that draw their separate ways sinner and saint.
Villaronga's film falls into 'horror' genre mode at key moments in the story's development. If the director could have depicted his characters' behaviour with sustained realism, his film would , like Bataille's work, tell us more about the nature of evil and be indeed a masterpiece of cinema.
As it is, 'In a Glass Cage' is most beautifully realised with remarkable actors and isn't, finally, altogether a 'horror' film: there's enough realism to give us cause for thought.
No distributor has been foolish enough to try and get this film past the British film censors, (you have to pay, even if your movie is rejected), but it was shown at two local festivals, and at the London screening, an initial audience of about 150 was reduced to a mere 12 by the end. It is unremittingly grim, harrowing and disturbing, and yet it probes the darkest depths to which humankind can sink, and demands that we confront "the unspeakable" which is so often avoided precisely because it is to painful to even speak about. My only moral reservation about this film is the use of very young actors in it. Although on the end credits there is a disclaimer stating that the highest standards of probity were employed during the film's production with regard to minors, I cannot see how some scenes were filmed without the youngsters having some idea of their sado-sexual context. Under British law, the public exhibition of such a film would be illegal unless it could be proven that clever editing etc., avoided these minors being aware of the scene's context. That said however, it is a film I would defend since it goes to the very heart of humankind's propensity for cruelty and barbarism, using the metaphors of authoritarian politics and authoritarian sexuality. And, after all, the film only shows being done to humans what society daily visits upon the animal kingdom - it is just a question of degree. To describe it as a "horror" film is wrong; it is unique and beyond categorization, although "horrendous" is certainly apt.
Did you know
- TriviaFor the scene where Angelo cried, actor David Sust put toothpaste under the eyes. He shot the scenes so many times that he injured his eyes and had to wear sunglasses for a while.
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