Text © Richard Gary / Indie Horror Films, 2017
Images from the Internet
The Glass Coffin (aka El ataúd de cristal)
Directed by Haritz
Zubillaga
Basque Films; Byp Media;
Demeter Films;
Life &
Pictures;
Morituri; Peccata Minuta; MVD Visual
Morituri; Peccata Minuta; MVD Visual
77 minutes / 2016; 2017
elatauddecristal.com/
The premise is simple: actress Amanda
(the lovely Paola Bontempi) steps into a stretch limousine on her way to get a
Lifetime Achievement Award for her 20 years in the business. Through her cell
phone, she quickly finds that her husband Saul, is stranded somewhere during a
storm and will not make it to the awards dinner. But that is the least of her
troubles.
Soon the windows of limo the go
black, the doors are locked, the cell phone is jammed, and she is trapped by…
well, all you hear is a disguised voice coming from somewhere beyond the hidden
front seat. She is told she must do what the disguised voice says or suffer
consequences.
While this is a nice story
motivation, the requests come across as a bit sexist out of context (i.e., the why), and that it is what actually makes the scene uncomfortable for not only
Amanda, but viewers like me. Sort of like how unsensual some sexual films are,
such as Irreversible (2002), which
are not just uncomfortable to watch, but they are icky because you it’s harder to really justify the action, even if
it’s explained (think of 2010’s A Serbian
Film, for example). Okay, so they want to degrade the character, I get
that, but it’s what is requested more
than why. And I’m only a third into
the film!
Now, I’m willing to admit that’s
partially on me, probably. I mean,
going into watching the film, it’s pretty obvious that as Amanda is put into
uncomfortable positions (both figuratively and literally), the idea is to make
the viewer empathize and feel her discomfort with her. Mission accomplished. At
first, she is cynical, and then is angry, but after a while and with good
cause, she is cautiously compliant; but you know it’s a bit out of her control,
at least for the bulk of the film, as these tend to run. About the end? I ain’t
tellin’, because in today’s genre climate, there’s a 50-50 chance of survival
or death of the main character.
Thing is, once the big reveal is
accomplished, the story really picks up, and the icky factor gets replaced more by tension, which is much better. As
Andrea is put through her paces and rules change in various directions, we get
more involved rather than just wanting to flinch away, even with knowing the
motivation behind the actions.
Naturally, as 90 percent of the film
takes place in the confines of the “glass coffin,” i.e., the stretch limo, of
course it feels a bit claustrophobic, but rightfully – and I’m sure
intentionally – so. That Bontempi is on the screen nearly constantly, being the
center of the whole she-bang, also helps. Luckily, she can cannily play a full
range of emotions, so you’re not going to get tired of watching her
performance, and that she’s attractive doesn’t hurt either, even when covered
in bruises and blood.
As a frequent watcher of murder
mysteries and even banal television shows, I often pre-guess what is going to
happen (my wife and I make a game of it), and so naturally I had my own ideas
on how it would turn out, and who was behind it all. There are a couple of red
herrings in the first few minutes to lure you away from the truth, but odds are
you aren’t going to see it coming… well, I didn’t, so there.
Horror films from Spain have come a
long way from the Blind Dead series
in the 1970s, but while I would consider this film in that genre, I should also
say that it falls equally into the thriller category. That being said, there is
a nice level of practical effects gore, but none more than necessary, and what
I mean by that is there’s nothing over the top like projectile spurting, just a
realistic amount for the actions taken. I admire that.
Considering the confined space, the
camera doesn’t move around much as far as actual motion goes, other than a dolly shot occasionally down the length
of the stretch limo, but thanks to multiple cameras, the tension of editing works
really well. So does the lighting, which constantly shifts colors from blaring
white to dusky, dark blue. Most limos these days are “party buses,” so there is
a lot of lighting that has been added to the rides. The film successfully takes
full advantage of that, so the viewer feels as dazed by it as does Andrea.
Being a film from Spain, you’d be
right to assume that it’s in Spanish. Luckily, you don’t have to turn on any
captions, as it is already there. While I cannot attest to the accuracy as I
don’t speak any other languages than English and Brooklynese, my one complaint
is that the lettering is white with just the minimal shade of outer shadow, so
when placed over something on the screen that is white, it can be hard to read.
Luckily, because so much of the film is in a semi-dark limo, it doesn’t
interfere too much. I was able to
follow everything with the occasional fill-in-the-blanks.
As for extras, there are none other
than chapter breaks, but honestly that’s pretty common for foreign language
films, and I’m okay with that.
Despite the initial icky factor, this is an especially
strong film that is well supported by Bontempi, which reminded me a bit of a
more brutal version of the play/film Deathtrap,
especially once we get some footing of the why
things are happening rather than just the what.
I don’t know if I’ll give this a second viewing, but I am definitely glad I sat
through the film. It’s a very razor-sharp piece of filmmaking.
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