Agustí Villaronga Mallorcan is a director, in general, is quite unknown to national cinematography. The last thing it has reached us is the mockumentary Aro Tolbukhin: in the mind of the murderer (2002) on the Hungarian murderer in Guatemala. Other works include The Sea, 99.9 o Child of the moon. Most of these, like the actors who participate in them, are characterized by the strong presence of the Balearic archipelago. Behind the glass (1985) is the first film of this man, and most critically acclaimed. It is well known in spite of this, and could even be said to be due to the relocation of the director within the time that was done. If you are looking in a glass cage (title translated into English that was released) will be almost more references in English. And it is considered cult for the transgression of their approaches.
film begins with a fairly young boy hanging naked hands. It is like a vision, and sado-masochistic pedophile for a redeemer. Beside him, a man does well presented photos of the child, comes over and licks his face with eyes still vice. After that, a camera accessory (therein lies the morbid game) the man takes a stick and pokes her child in the neck, as if it were a rabbit. That's when unhealthy complicity of director jumps to a third party who observes the scene from outside through a window. And that character is still unknown, it's us because it makes us complicit in what we have seen, marks the evolution of the film. After this disturbing impression, the camera (us) is / we the murderer from among some stairs to the battlements of a tower. We are waiting and silent man, with parsimony, pull vacuum.
So begins the film. That is the first 4 minutes. Traumatically incredible.
obviously know nothing based on this (hence the story), and what will emerge next is a story of hatred and despair, which leads to an unhealthy ideology based on the guilt of the past, the purge sin and the masochism of the victim. It's sort of like watching a movie from Chan-wook Park but tripe. The visceral issue here focuses on the victims, yes, but the difference is that these are now children. Actors are four, including Marisa Paredes, who has a role not too protagonist and complies perfectly with the stigma of a bitter wife and bad, but basically defenseless. The others are the girl Gisele Echevarria (which would merely film), Günter Meisner (a second-tier German actor who made a jug of stuff for TV Germanic) and David Sust, the real star of the film, in my opinion not meet even a tenth of what their role in post-teen depraved madman promised. His character (Angelo) is embodied with the reluctance of Jorge Sanz of beginnings, with phrases recited almost without changes in tone and with a stiff rookie. This is one of the serious faults, because his character has no force or malice, but rather a stop homosexual Initial that you are not from the head.
Another point worth noting that the story is sickening, but will decline as everything progresses and the characters become blurred and disappear. Perhaps there are people that do not support such a degree of moral perversion, and this makes them be stupid questions would not be done about the executioner-victim relationship (that is the grace and originality), but going by that way, even for more tolerant audience, the film is mired in itself, as shown repeatedly disrupted it (and wants to show off), and that's not funny. And not funny because there was a 4-minute climax never reached again throughout the footage. It is as if the first should give you a punch in the face and then they were calling you a fool for an hour and a half. For this reason, the beginning and then it hits you do not mind so much.
Rating: 5
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