Tag Archives: Argentine cinema

Film Review “Terrified” a.k.a. “Aterrados” (2017)

Like much Argentine cinema … a great idea … but ultimately an unsatisfying mess

Strange events and a murdered wife brings a motley collection of investigators — a cop, a doctor, and a paranormalogist — to this Buenos Aires neighbourhood to investigate. Will they get to the bottom of the case and stop this evil from spreading?

Terrified a.k.a. Aterrados is a disturbing horror film. It never allows you to get your bearings. And asides from a dodgy bit of special effects early on, the film is darkly creepy with a disturbing evil presence.

Unfortunately, the film’s apparently deliberate decision to have no character-based central narrative thrust or fixed protagonist makes it hard to get into and stay with this movie. The effect is that a bunch of weird and disturbing stuff is happening, but without any reason focus or point. It’s frankly hard to care about what happens.

Like much Argentine cinema, there is a great idea here, and some wonderful acting, direction, and film design, but a film that none-the-less is ultimately an unsatisfying mess that goes nowhere. No matter how good these other things are, if the central narrative doesn’t work, it’s game over for the film. Sadly.

2/5

© 2021 Bryan A. J. Parry

featured image from http://es.web.img2.acsta.net/pictures/18/06/08/12/54/5116397.jpg

NETFLIX FILM REVIEW “THE SON” A.K.A. “EL HIJO” (2019) #NETFLIXREVIEWS @JOAQUINFURRIEL @MARTINAGUSMAN @CIANOCACERES @HEIDITOINI @LEODAGO_ @LEOYSUBRAYO

there is a line between teasing the viewer and being a pricktease … frankly, this movie will leave you with blue balls.

Lorenzo is a middle-aged artist who is about to have a baby with his much younger, sweetly vulnerable wife Sigrid. But as soon as she falls pregnant, her behaviour becomes more and more distant, sinister even. Or– is it all in Lorenzo’s head? It’s only when the baby is born that Lorenzo and the viewer truly plunge headlong down the rabbit hole.

The film starts with a hot sex scene. Usually a bad sign. However, not so here: The Son was a tense psychological thriller, brilliantly acted by all. Lorenzo’s headspin into wretchedness and/or madness is masterfully constructed by Joaquín Furriel who is almost unrecognisable. Heidi Toini, who plays his Norwegian wife Sigrid, gives a brilliant performance which, like the candlestick-silhouette illusion, could equally be read in two completely different ways depending on perspective; is she an innocent and worried mother or is she a sinister evil plotter? Lorenzo’s best friends Julieta and Renato are equally magnificently played by Martina Gusman and Luciano Cáceres.

Candlestick, or silhouettes? The Son masterfully plays with our perception of reality.

I couldn’t breathe throughout I was that spellbound.

This is honestly one of the best movies I have seen in the last year or two.

It could also be one of the worst.

Why?

Despite being almost perfect, the ending lets it down. But not because it was obvious or forced or too twisty or too straight-forward. Rather, the film just ends. Abruptly. You’ll understand when you see the film, but it’s like it’s missing the last two minutes. All the plot threads are pulling together when the final incident happens and — we don’t get to see the resolution. I had to think about the ending. That’s not a bad thing, the old thinsky ambigui-ending. And I think I know what happened. No spoilers, of course. But then again, judging from other people’s comments, everyone seems to have interpreted the ending differently. There is a line between teasing the viewer and being a pricktease, and with The Son we’ve crossed it; frankly, this movie will leave you with blue balls. It’s actually unacceptable that a movie this brilliant in so many ways should end with the cheap, “We’re not gonna show you!” shot at ambiguity. The writer and director should have had the balls to pick one of the possible outcomes and go with it. I have to warn you: this film is magnificent, but the bad ending — no, actual lack of an ending — is pretty disgraceful and will be, for many a viewer, film-destroying. Perhaps the book on which it is based can shed some light.

So, four stars out of five, or two out of five? I’ll have to give it a three, the weirdest and most atypical three star movie ever.

3/5

© 2020 Bryan A. J. Parry

featured images from https://www.megadede.live/wp-content/uploads/2020/05/vcytE1v9e4RGjdhDYobbkFUNJxB.jpg and https://www.researchgate.net/profile/Richard_Beasley3/publication/319407054/figure/fig5/AS:553636499787777@1509008635552/Optical-illusion-faces-or-candlestick-or-both.png