Eduardo Casanova’s new film moves away from optimism, enjoys cultivating impact and recreates the concerns of good women.
Edward Casanova dissects the evil between a mother and a son amplifying its shreds, braiding them into a kind of sequel that uses its own images to empty itself. First, ‘La Piedad’ is formed between mirages. Mateo, the son (Manel Llunell, confused and furious), exists only for Libertad, the mother (Ángela Molina, with a slightly terrifying gesture). Then, thanks to the parallel editing, Mateo and Libertad discover themselves puppets of the same systemic and benevolent violence of the Kim Jong-il regime in North Korea.
In ‘Españita’, horror and paranoia are experienced from afar, they are only understood when blood splashes on us. That’s what cinema is for, of course, which, based on arcades, returns the sterile metaphors of thesis films to the reality of nausea. Casanova runs between anguishing aesthetics and exploitation unbearable. She doesn’t invent, she consolidates: she moves away from the optimism of the end of ‘Pieles’, enjoys cultivating the impact and recreates the signs of restlessness of good ladies. She hits… Nothing is more scary than them.
For connoisseurs of the abysmal horror after a good perm
DATA SHEET
Direction: Edward Casanova Distribution: Ángela Molina, Manel Llunell, Ana Polvorosa, María León, Antonio Durán, Macarena Gómez Country: Spain Year: 2022 Release date: 13–01-2023 Gender: Drama Script: Edward Casanova Duration: 84 min.
Synopsis: Mateo lives with his mother, Libertad, in a rosy world; a microcosm that has precisely two inhabitants, mother and child. One day Mateo is diagnosed with cancer…
Source: Fotogramas
Emily Jhon is a product and service reviewer at Gossipify, known for her honest evaluations and thorough analysis. With a background in marketing and consumer research, she offers valuable insights to readers. She has been writing for Gossipify for several years and has a degree in Marketing and Consumer Research from the University of Oxford.
