Some have been here revised and expanded version of "Rapture" Ivan Zulueta. Although dealing with different topics, formally have much in common. Teens looking narcotic destabilize a particular focus on environment more or less internal, more or less projected, even moved in both cases clearly excuses away. Both tape and the other, punctuated by the illness, the amorality, the violence, especially in the case of contumacy Villaronga-and for years have been labeled a loser, but in the case of Basque, the reward of critical acclaim, though dormant, made living a second youth, in the case denied "After the glass."
Despite what you stand on the author of "The Sea", "Behind the glass" does not speak of an issue as personal as can be paused Zulueta kinematics. The debut issue of Villaronga is, unfortunately, more on days like this where pedophilia merely uncovering every moment, a universal question that resorts to a specific event, such as the shadow of Nazism here somewhat blurred, and one of its many practices, the whole awareness of revenge as circular, congenital and unfathomable. Architecture under a gray, blue and black really superb, with a picture kept special mime who then made his debut in length, the film does not lose intensity in almost no time, despite some predictable certain discursive levels.
Terror is only a matter of aesthetics, and a tributary on which channel the plot, never an end in itself, so it goes beyond gender or frauds. The struggle for power is his lantern, walking on a carpet of attraction / repulsion fortunately sustained. A fight that will have its peak and turning at the hanging of David Sust Marisa Paredes, officer's wife abuser, Sust only obstacle to carrying out all its deployment sick and twisted, her whole spectacle of cruelty and cold dishes served well . From that moment, a constant torture in a procession of gullible and unsuspecting prey faces of innocent children go through the machine where it survives niche Günter Meisner, the initiator of the nightmare, returned as an amplified vomiting. Without compassion. But your point degreaser. As in "Outbreak", where between hallucination and so much dependence, provided the time Carmen Giralt hilarious to stretch, will be on "Behind the glass" the role of a Imma Colomer, peasants as casual as endearing, which provides a respite from so much congestion and rawness.
That such a film - the best of the eighties in Spain? - So well done, so vigorous and exciting, perfect ornamental damn still considered unlikely, without the possibility of erecting a completely obscurantist status , is a measure that in some cinemas still sends more falling into grace to be funny.
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