Thesis (1996 film)

Directed and scored by Alejandro Amenabar and written by Amenabar and Mateo Gil, Tesis (Thesis) is the story of a student who is writing a thesis on violence as her research leads her into a murder mystery involving snuff films. The film is a thriller that plays into one’s fascination with death as well as the culture of snuff films. Starring Ana Torrent, Fele Martinez, Eduardo Noriega, Xabier Elorriaga, and Miguel Picazo. Tesis is a provocative yet entrancing film from Alejandro Amenabar.

The film revolves around a college student who is trying to work on a thesis on audio/visual violence and humanity’s fascination with it as she becomes engrossed in the culture of snuff films following the death of her professor where she is aided by a film student who believes something is up about these films. It is a suspense-thriller that revolves around the culture of snuff films as a young woman deals with not just these mysterious deaths of these women but also who are involved with filming and keeping them secret. The film’s screenplay by Alejandro Amenabar and Mateo Gil doesn’t just explore a woman’s fascination with violence despite her disdain for it but also this subculture where violent acts and deaths are being filmed for the pleasure of some. While the protagonist Angela (Ana Torrent) is interested in watching these films for her thesis as her professor recommends one of his students in Chema (Fele Martinez) to show some films to her.

Once her film professor in Figueroa (Miguel Picazo) dies mysteriously after supposedly watching one of these snuff films, Chema would watch it himself as he would make some big discoveries about not just some of the details but also the kind of cameras that were used. While there are suspects such as a former classmate of Chema in Bosco (Eduardo Noriega), Angela finds herself attracted to Bosco which confuses her while she is also confronted by her new professor Castro (Xabier Elorriaga) about the motivation of her thesis. Especially as Castro is someone that is telling his students about the idea of giving in towards commercialism instead of individual artistic pursuits to help the film industry in Spain. It adds to this conflict of sort that is happening throughout the story about what these snuff filmmakers want to provide but also to see if the public at large would want to see this in this twisted form of voyeurism.

Amenabar’s direction definitely plays with the conventions of suspense and drama while adding bits of humor into the film. Shot largely in Madrid at the Universidad Complutense de Madrid, the film does have an intimacy into some of the compositions where some of it features medium shots as well as a few wide shots to capture the space of the classrooms. Amenabar also creates some unique compositions from the scene where Angela and Chema first look at each other as they’re both listening to different music as it showcases how different they are. Yet, their interest in film is what brings them together though Chema is someone who is more of a guy that loves horror and gratuitous violence. The usage of video cameras and the look of the snuff films definitely add something that is quite gruesome as Amenabar plays off into the element of suspense as it includes a chase scene but also moments that blur the lines of reality and fiction. Even in scenes that play into a sense of terror such as the scene where Angela and Chema go into the school library and find this secret room.

Amenabar’s score would help play into the suspense and drama such as his piano-based themes that would be featured prominently in the chase scenes while he would create some low-key orchestral moments for the drama including the film’s climax. Especially as it features many twists and turns into who has been killing these women and is there more than just one killer where Angela is caught in the middle as she plays the Final Girl persona that is so prevalent in horror/suspense films. Yet, she is key into not just solving this mystery but also cope with the aftermath as it relates to her thesis and what she had been intending to say. Overall, Amenabar creates a thrilling yet captivating film about a woman’s study on violence and her introduction into the world of snuff films.

Cinematographer Hans Burman does brilliant work with the film‘s cinematography from the usage of lights for many of the interior scenes such as the boiler room and hallways where the secret tapes are at as well as some of the scenes set at night and the grainy look of the digital video that was used for the snuff films. Editor Maria Elena Sainz de Rozas does amazing work with the editing with its usage of fade-outs and jump-cuts for some of the suspenseful and dramatic moments as well as creating some offbeat cuts in some of the snuff films. Production designer Wolfgang Burmann does excellent work with the look of Chema‘s apartment home that is filled with horror posters and all sorts macabre imagery as well as the look of the secret place where the snuff films are hidden.

Costume designer Ana Cuerda does nice work with the costumes from the casual look of Angela to the more grungy look of Chema and the more refined look of Bosco. The sound work of Ricardo Steinberg is superb for the sound work that is created in some of the snuff films as well as scenes that play up into the suspenseful moments of the film.

The film’s fantastic cast include some notable small roles from Teresa Castanedo as a news broadcaster, Olga Margallo as the young woman shown in the snuff film, Paco Hernandez and Rosa Avila as Angela’s parents, Miguel Picazo as Angela’s old professor Figueroa, Nieves Herranz as Angela’s younger sister Sena, and Rosa Campillo in a wonderful performance as Bosco’s girlfriend Yolanda who reveals to Angela about the workshop that was part of the snuff films. Xabier Elorriaga is excellent as Professor Castro as the new head of the film department who tells his student to make films and give the audience what they want while being very suspicious about what Angela is wanting to say in her thesis.

Eduardo Noriega is brilliant as Bosco as this very good-looking student who is quite creepy as it plays into his own intentions but also someone who knows about what goes on in these workshops. Fele Martinez is amazing as Chema as a horror/action film buff with a love for violence who makes some key discoveries into the snuff films while being somewhat antagonistic towards Angela in her lack of knowledge on film violence. Finally, there’s Ana Torrent in a remarkable performance as Angela as this college student trying to finish a thesis on audio/visual violence as she finds a snuff film that her professor watched where she finds herself entangled in a murder mystery where it’s a performance that has Torrent display a restraint but also a unique interpretation of the Final Girl persona.

Tesis is a phenomenal film from Alejandro Amenabar. Featuring amazing performances from Ana Torrent, Fele Martinez, and Eduardo Noriega as well as a thrilling premise and exploration into the world of snuff films. The film is a thriller that manages to very gripping but also with a sense of wit. In the end, Tesis is a sensational film from Alejandro Amenabar.

Alejandro Amenabar Films: Open Your Eyes - The Others - The Sea Inside - Agora - Regression - The Auteurs #51: Alejandro Amenabar

© thevoid99 2016

Open Your Eyes

Directed by Alejandro Amenabar and written by Amenabar and Mateo Gil, Abre los Ojos (Open Your Eyes) is the story of a young playboy whose life changes following a car crash that leaves his face disfigured. After falling for his best friend’s girlfriend, he is questioned by a psychiatrist as he starts to have trouble distinguishing real life and the dreams that he’s been having. The film serves as Amenabar’s international breakthrough as it would mark him as a new voice in Spanish cinema. Starring Eduardo Noriega, Penelope Cruz, Najwa Nimri, Fele Martinez, and Chete Lera. Abre los Ojos is an enchanting yet surreal film from Alejandro Amenabar.

After a near-fatal car accident that left his face disfigured and being questioned for murder, a young rich playboy named Cesar (Eduardo Noriega) is examined by a psychiatrist named Antonio (Chete Lera). Cesar recounts his life as a young playboy who often sleeps with different women as he just scored in his latest conquest in a woman named Nuria (Najwa Nimri). With a birthday celebration coming as a party is held for Cesar, his best friend Pelayo (Fele Martinez) arrives with his new girlfriend Sofia (Penelope Cruz) as Cesar is amazed by her. Despite dealing with Nuria’s presence, Cesar finds himself attracted to Sofia as the two have a conversation about things as she takes him to her apartment. After a fun night where Cesar didn’t actually sleep with a woman, Nuria waits for Cesar as she drives him home where Nuria’s behavior leads to a horrifying incident.

With Cesar disfigured, his life is in shambles as he talks to Antonio about the despair he went through as all the surgeries he had didn’t work. Still, Sofia and Pelayo try to help him as he is convinced that his life ends. Yet, something happens as a revolutionary surgery has arrived fixing Cesar’s face as he manages to re-connect with Sofia as the two have a romance. Then, reality starts to blur as he sees Nuria claiming to be Sofia as Cesar has no idea what is going on. After meeting a man named Duvernois (Gerard Barray) who claims that Cesar is just dreaming, Cesar refuses to believe him as things become more complicated as Antonio asks about the dream Cesar keeps having. Cesar realizes that it all has to do with all of the things that are happening him as he confronts what is blurring his idea of reality.

The film is about a young man’s life that changes following an accident as his perception of reality starts to blur as he’s dealing with dreams in his head as he’s talking to a psychiatrist. During this journey, he starts to fall for a beautiful young woman who is his best friend’s new girlfriend. While she’s not like any of the women that this young man has been with, she comes in at a time where his life is going to change but in the wrong way due to a jealous lover. Due to his despair, he sleeps into a drunken state and wakes up where things change as it adds to his own confusion about what is real and what is a dream.

Alejandro Amenabar and co-writer Mateo Gil create a film where it’s all about the idea of what dreams can do but also how they can play with reality. At the same time, it’s a character study set into a world of surrealism as Amenabar and Gil delve into what this man is going through. During the course of the film, there is a story involving cryogenic freezing from a man who talks about it as it would later become something bigger in the third act. Meanwhile, Cesar goes through this journey where he has to deal with being disfigured and then have his face back but things don’t seem perfect as it seems. The script is a mesh of various genres with a center on this man’s ordeal as he talks to a psychiatrist that is trying to piece everything together.

Amenabar’s direction is truly engaging in the way he presents the film as he goes for style a lot of the composition he brings in as it’s shot on location in Madrid and in a full-frame format. Still, he allows the film to have a wide depth of field for several shots of Madrid as some of the early dream-like sequences features a city that is truly empty. Amenabar always keeps the camera moving to maintain that surreal-like state along with a few visual effects shots to play up Cesar’s perception of reality.

At the same time, there’s some wonderful intimate moments in scenes between Cesar and Sofia where Amenabar keeps the presentation simple. Yet, the way he approaches the more intense, dramatic moments as well as the big moments such as the ending shows ambition no matter what he has to use for a film like this. Overall, this is truly a stunning yet magnificent film from Amenabar.

Cinematographer Hans Burman does an excellent job with the film‘s photography from the colorful yet entrancing look of the nightclub scene to the broad yet beautiful daytime scenes in the park where Cesar recalls a dream to Sofia that she‘s in. Editor Maria Elena Sainz de Rozas does a great job with the editing by creating a tight yet methodical approach to the pacing while using straight cuts to black and jump-cuts to play up some of the film’s suspenseful moments.

Art director Wolfgang Burmann, along with set decorators Carola Angulo and Ramon Moya, does a nice job with the set pieces created such as the room where Cesar and Antonio as well as the differing apartments that Cesar and Sofia live in. Costume designer Conha Solera does a very good job with the costumes to exemplify the personalities of the characters from the posh/casual clothes of Cesar to the stylish clothes that Sofia wears. Makeup designer Paca Almenara does an amazing job with the makeup for Cesar‘s disfigured face which plays up the trouble emotions of Cesar. Sound designers Daniel Goldstein and Ricardo Steinberg do a fantastic job with the sound to capture the sparse texture of empty Madrid and other intimate moments to more layered work in crowd-driven scenes.

The film’s score by director Alejandro Amenabar and Mariano Marin is superb for its orchestral score filled with heavy arrangements for the suspenseful pieces as well as more low-key somber cuts for the light-dramatic moments. The film’s soundtrack also includes an array of alt-rock cuts and some electronic pieces by acts like Massive Attack and Sneaker Pimps for the club scenes that is prevalent in the film as the overall music work is great.

The film’s terrific cast includes an appearance from Jorge de Juan as an executive late in the film as well as Gerard Barray as the mysterious man that appears on the TV that Cesar later meets at a club. Najwa Nimri is excellent as the sexy yet mysterious Nuria who confronts Cesar about his womanizing while playing mind games with him. Fele Martinez is very good as Cesar’s friend Pelayo who tries to deal with Cesar’s interest towards Sofia. Chete Lera is superb as Antonio, Cesar’s psychiatrist who tries to figure out his mood and the dreams that he’s been having as it’s a very brazen yet charismatic performance.

Eduardo Noriega is great as Cesar, the young playboy whose life is shattered by an accident as he seems to try and figure out what to do only to have trouble in distinguishing reality and fiction. It’s a very complex yet exhilarating performance from Noriega who starts off as charming and a bit un-likeable only to wear makeup for his disfigurement and to convey the despair that he’s going through in this amazing performance. Finally, there’s Penelope Cruz in a radiant performance as Sofia as Cruz brings a wonderful sense of charm and wit to her character. Notably in a scene where she does mime work that is just amazing to watch while she has some great chemistry with Noriega for the way they talk and react to each other in a very naturalistic, relaxed approach as it’s one Cruz’s finest performances.

Abre los Ojos is a spectacular yet mind-bending film from Alejandro Amenabar that features brilliant performances from Eduardo Noriega and Penelope Cruz. For anyone that is interested in the works of Amenabar should definitely check this out as it’s also one of the most daring and ambitious sci-fi dramas of the 1990s. The film is also worth seeking out for those that had seen Cameron Crowe’s 2001 remake Vanilla Sky to see what Crowe expanded on as it also featured Cruz in the same role. In the end, Abre los Ojos is a thrilling yet hypnotic film from Alejandro Amenabar.

Alejandro Amenabar Films: Thesis - The Others - The Sea Inside - Agora - Regression - The Auteurs #51: Alejandro Amenabar

© thevoid99 2011

The Devil's Backbone

Originally Written and Posted at Epinions.com on 8/6/08 w/ Additional Edits.

While Guillermo del Toro has been known recently for his work in the Hellboy movies as well as his 2006 award-winning film El Laberinto del Fauno (Pan's Labyrinth). The Mexican-born director has a unique approach to both fantasy and horror ever since he debuted with 1993's Cronos. While 1997's Mimic was a studio picture that did well modestly and spawning two sequels that didn't involve del Toro. The director still managed to get attention when he was hired to direct the sequel for Blade that some critics thought was more superior than the first film. Yet, before doing Blade II he attracted the attention of reknowned Spanish auteur Pedro Almodovar who read one of his scripts and along with his brother Agustin, the Almodovars decided to produce Guillermo del Toro's eerie horror film entitled El Espinazo del Diablo (The Devil's Backbone).

Directed by Guillermo del Toro which he co-wrote with David Munoz and Antonio Trashorras, El Espinazo del Diablo tells the story of a young boy who goes to an orphanage as his father is currently fighting in the Spanish Civil War. The boy makes some unique discoveries about his orphanage while dealing with a nasty caretaker, a ghost, and other mysterious things until the boy decides to confront them. Described by del Toro as a spiritual companion to El Laberinto del Fauno, the film explores the supernatural as well as fantasy and terror through the perspective of a child. Starring Fernando Tielve, Eduardo Noriega, Inigo Garcias, Junio Valverde, Irene Visedo, Federico Luppi, and Marisa Paredes. El Espinazo del Diablo is a chilling yet fascinating fantasy-horror film from Guillermo del Toro.

It's the middle of the Spanish Civil War as a young boy named Carlos (Fernando Tielve) is being sent to an orphanage somewhere in the middle of Spain. The orphanage is run a stern yet caring one-legged principal named Carmen (Marisa Paredes) and a doctor named Casares (Federico Luppi) as they take Carlos in during this time. Carlos meets the school's bully named Jaime (Inigo Garcias) whom at first, goes into conflict until Carlos discovers a ghost lurking around the orphanage. Staying in the bed that belonged to a deceased orphan named Santi (Junio Valverde), Carlos hears noises as the water jug is broken. Carlos and Jaime decided to get water from the jugs as Carlos discovers that the ghost is none other than Santi.

Carlos also encounters with the abusive caretaker Jacinto (Eduardo Noriega). Jacinto was also an orphan at the place as he's gained contempt for the place as he has sex with Carmen for selfish gain while being surrounded by his fiancee Conchita (Irene Visedo). After an incident at a water pit involving a spat between Carlos and Jaime, things go bad when Jaime fells into a pool where Carlos saves him but also sees the body of Santi. Yet, the boys have another encounter with Jacinto that leaves Carlos with a cut on his cheek. Carlos does manage to befriend Dr. Casares who shares his infatuation with the supernatural while showing him mysterious things that are called the Devil's Backbone.

While Carlos gains respect from Jaime and the other boys over for keeping not squealing, Carlos decides to go further into the investigation over Santi. He also believes that Jaime, who claims to not believe in ghosts, had something to do with it as a meeting with Santi leaves Carlos frightened. When Dr. Casares and Conchita leave to town for money and supplies, Casares learns that the war is escalating as he and Carmen decides to leave. Yet, Jacinto is caught trying to get the gold as Casares confronts him with a rifle as he's banished. With everyone including the children preparing to leave. Something horrible happens when an explosion occurs leaving several of the children wounded. With Conchita deciding to walk to town to get help, Casares leads the charge. Jaime finally reveals to Carlos what really happened with Santi as it involves Jacinto forcing the two boys to confront their tormentor.

While the film in a traditional sense is a horror film, it's more of a psychological, suspense feature about a boy who uncovers dark secrets in an orphanage while helping a ghost find peace over his death that might not have been an accident. What del Toro does in the storytelling department is slowly uncover the mystery over Santi's death while Carlos also deals with the abusive Jacinto who also scares the children. Though the film at times, has a few pacing issues where it would lag a bit and sometimes, rush a bit. Yet, del Toro does create characters that are multi-dimensional with motives and such while using the Spanish Civil War as a template for the tension and fear that surrounds the orphanage.

The direction of del Toro is definitely unique and atmospheric where it's mostly shot in one location as he creates a sense of tension and fear that is expected within the genre. Unlike most horror films that relies on gags and gore, del Toro isn't trying to get audiences to be scared but be scared in what might happen. Yet, del Toro aims more for drama as he creates scenes and compositions to allow a sense of intimacy for some of the interaction between characters. Yet, del Toro's focus on the characters of Carlos and Jaime as two boys try to deal with their own adolescence, Jaime's crush on Conchita, and later on, having to play older brothers to the younger kids at the orphanage. The film also carries visual effects that are more about atmosphere rather than something that's big in del Toro's more mainstream films. The result is a unique yet chilling film from the mind of Guillermo del Toro.

Longtime del Toro collaborator in cinematographer Guillermo Navarro does some excellent work in the film that's more straightforward than his usual palette of sepia-laden colors. Instead, Navarro's daytime shots both interior and exterior emphasize less of flashy lights for natural style of lighting while his nighttime sequences are wonderfully shot in blue colors to create a sense of suspense and horror. Navarro's sepia-drenched colors are shown more in the film's pool sequences that are eerily shot. Editor Luis de la Madrid does excellent work in the film's cutting to convey the suspense and drama that goes on in the film.

Art director Cesar Maccaron and set decorators Pablo Perona Navarro and Pilar Revuelta create a lot of great sets in the orphanage that includes the muddy pool underneath the orphanage, the bomb in the middle of place, and decaying walls. Costume designer Jose Vico does some excellent look in the period costumes though lacks color to convey the eerie, moody tone of the film and times. Sound editor Oriol Tarrago and mixer Miguel Rejas does some wonderful work in conveying the atmosphere of the film with wind, grinding metal for the bomb, and other sound effects that create a chilling tone. Special effects supervisor Alfonso Nieto does excellent work in the film's visual effects with help from makeup artist Jorge Hernandez in creating the ghostly look of Santi.

Music composer Javiere Navarette brings a chilling yet hypnotic score that's more suspenseful and dramatic in comparison to the dream-like score that he created in El Laberinto del Fauno. Yet, the music is more bass-heavy and sweeping as Navarette's score plays up to its sense of horror with screeching violins and heavy arrangements.

Casting director Sara Bilbatua does great work in the film's casting with memorable small performances from Berta Ojea as one of the orphanage's teachers, Francisco Maestre as Jacinto's crime boss, Jose Manuel Lorenzo as Carlos' tutor who drops him off, and Javier Gonzalez and Adrian Lamana as two boys Carlos befriend. Irene Visedo is good as the maid Conchita who is suspicious of Jacinto's motives in the orphanage while realizing that one of the boys has a crush on her. Junio Valverde is excellent as Santi, the deceased boy who haunts the orphanage as he brings a chilling presence that is right for the film’s tone.

Federico Luppi, who previously appeared in del Toro's Cronos, is great as the fatherly Dr. Casares. A man who shares Carlos' belief in the supernatural while professing his love for Carmen while aware of the dark presence that is Jacinto. Almodovar associate Marisa Paredes is also great as the headmistress Carmen who is trying to run a school as she is forced into affairs with Jacinto for her own pleasures only to be manipulated. Eduardo Noriega is brilliant as Jacinto, a villain whose hatred for children and the orphanage is a man who is just simply trying to get gold for his own reasons while trying to avoid fighting for the Spanish Civil War.

Inigo Garcias is wonderful as Jaime, the school's bully who later befriends Carlos as he reveals his talents for drawings that gives clues into what he knows about Santi. Garcias doesn't delve into the typical build or look of a bully but rather say foul language and such where he's kind of cool but also a bit intimidating. He gets the best development as he reveals his own fears for Jacinto. Fernando Tielve is amazing as Carlos, the newly-orphaned boy who discovers the dark secrets that goes in the orphanage. Tielve's performance doesn't fall into the category of most child performances which often, they have to act cute or make a stupid face. Tielve instead maintains an individuality where he tries to figure out what's going on while befriending both Jaime and Dr. Casares, whom he looks up to as a father-figure of sorts. It's Tielve's performance that carries the film.

Released in 2001, the film garnered lots of critical acclaim as it brought del Toro some attention as he was also helming Blade II just as El Espinazo del Diablo was coming out. Though the film wasn't a commercial hit, it would garner more attention after the release of El Laberinto del Fauno. Especially since critics and audiences would notice the parallels that del Toro put for both films where young actors Fernando Tielve and Inigo Garcias both made cameos in El Laberinto del Fauno. The object of the Devil's Backbone also made cameo appearances in the Hellboy movies that del Toro also directed.

El Espinazo del Diablo is a sensational horror-drama film from Guillermo del Toro and company. Thanks to the performances of its young actors Fernando Tielve and Inigo Garcias plus great support from veterans Federico Luppi, Marisa Paredes, and Eduardo Noriega. With help from Pedro Almodovar as a producer, the film is a fascinating take on the horror genre. Especially since it's relying on cheap gags and lots of gore. In the end, El Espinazo del Diablo is a chilling film from Guillermo del Toro.

Guillermo del Toro Films: Cronos - Mimic/Mimic (Director's Cut) - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim - Crimson Peak - The Shape of Water - Nightmare Alley (2021 film) - Pinocchio (2022 film) - The Auteurs #10: Guillermo del Toro

© thevoid99 2011