A phrase from Stephen King shall be sufficient to unleash the hype. And having the grasp of terror as a prescribing voice is a bonus that can not be ignored identical to that. In his sustained and transient suggestion, issued by way of the previous social community of the little blue fowl, the well-known literary best-seller challenged us to discover a blacker movie than “The Dining Table” from Caye Casas, and actually, after his latest touchdown at Filmin after two years within the shadows, we are able to affirm that the problem will not be straightforward.
For higher or worse, the movie is an immersive expertise to which the viewer should seem utterly virgin. Otherwise, we will be unable to expertise in the identical manner the fixed stress that settles in our temples because the story unfolds its cruel and repulsive concepts on us. Sensitive stomachs ought to chorus, as a result of what the filmmaker from Terrassa proposes to us right here is an experiment in addictive restlessness, a skein of sordid dilemmas and suffocating entanglements, peppered with sinister doses of black comedy, which can drive us to cowl our faces in anguished disbelief on the identical time. that we will be unable to keep away from opening our fingers to proceed admiring his delirious method.
Although it’s true that the primary corpus of the movie is that of a stretched brief movie and the sustainability of its narrative suffers after the center of the movie, connecting to a extra static rhythm that circularly impacts the identical concept, Casas tries to resolve the mess all the time taking us down essentially the most disturbing path potential and embroiling our protagonist in an more and more tense and surreal useless finish. It is important to cease right here to focus on the stunning manner during which David Pareja (Jesús) bears the load of what, thus far, is essentially the most weird and dramatic function during which we now have seen him concerned. Accustomed to his comedic look, the actor from Huelva will utterly break our schemes, undoing with surprising passivity the mannerisms typical of the persona of a latent psychopath and even, why not say it, stoking the silenced debate on male psychological well being.
Accompanying the complicated edges of her psyche (of which we see lower than there’s undoubtedly) we discover a superb Estefanía de los Santos (María) in a task that, from her despotic temperament and her most private needs, contributes to our understanding. higher the sentimental disaster that lies between them. An estranged couple who show to be on the breaking point in each battle and each assembly of minds. And amongst them, Cayetano, his new child son, who will not be named after the movie’s director by likelihood.
Despite his shortcomings and limitations, Casas reveals quite a lot of braveness in taking us by way of an emotional mire of such magnitude that different filmmakers wouldn’t even dare to contemplate. A lump within the throat for an hour and a half, as extreme as it’s absorbing, which he’ll spin into our judgment with urgent vehemence after viewing it. Of course, he does not shock us in any respect that he made the legendary Maine author lose his thoughts.