What is the most important thing to you? Is it the way you show yourself to the world? The way they look at you? Or is it family? Or is it to do what is right? And what happens when all the answers to those questions are in conflict to each other?
Argentinian director Sebastián Schindel bases the narrative of his most recent film Crímenes de Familia (International Title: The Crimes that Bind) – an extremely interesting study of characters, which mixes elements of suspense, social criticism and legal drama – on the question above.
Now, if in the 99 minutes of footage of the film, you have been left with any doubts, concerns and questions, do not worry, because right now and without further ado, we will explore in deep this movie, and what is the meaning of its ending.
What is more terrifying? A haunted house or all the violent aberrations human beings are capable of? These questions, the same that established the entire Ju-On franchise – and the same that are generally ignored by American adapters in Hollywood – are the core and driving force behind Ju-On: Origins , the new Netflix series.
With just 6 short episodes of less than 30 minutes each, Ju-On: Origins further expands the vision of what the hell is really going on in the mysterious and enigmatic Saeki House, just before Kayako, Toshio and Takeo get to live there.
Now if you got confused after watching the less-than-three-hours series, sit down and chill, because without further ado, we will explain Ju-On: Origins in detail.
Released in Spain days before the ending of 2019 and now internationally distributed by Netflix in the midst of the quarantine of the Coronavirus pandemic, The Silence of the Marsh (Original Title: El Silencio del Pantano) is a film that has divided the critics: from those who rate it as a real piece of art by director Marc Vigil (The Ministry of Time ), to those who label it as a silly and simplistic film, passing through the intermediate points that rescue the performance of Pedro Alonso ( Berlin, Money Heist ) but destroy the handling of the narrative.
Indeed, the film includes brilliant performances, starting with Pedro Alonso’s, also highlighting Nacho Fresneda’s (Chema), in a frankly terrifying role, somewhat reminiscent of Javier Bardem’s work in No Country for Old Men , and the less scary, but much heavier role of Carmina Barrios (Purification “La Puri”). However, although the narrative is perhaps too ambitious for what the script really is, it is indisputable that we are dealing with a good quality product.
Now, if after seeing the film, you got lost between what is real and what is not real, between what happened and what did not happen and between knowing if the protagonist of the film is DOA, I suggest you to keep reading, because right below and without further ado, we will analyze and explain … The Silence of the Marsh.
Directed by Jeff Baena and starring Alison Brie (How to be single), Horse Girl is one of the weirdest movies I have seen not only this year, but even since I started to write this blog, and even more, since I started watching movies.
The end of Horse Girl is so weird, that it literally seems we need some extra scene, to finally decide what the hell was happening to the main character. But if like everyone who saw the movie, you ended up very confused at the end, do not worry, because now and without further ado, we’ll analyze and explain Horse Girl in depth .
Trust me, if the final scene on Netflix Original Wounds, literally almost blow your mind, you are not alone in this. Matter of fact, in order to understand what was going on in the movie, we had to check over four different sources – 1) The novella this movie is based on, The Visible Filth by Nathan Ballingrud, 2) Interviews given by Babak Anvari, director of this film, 3) Information available on gnostic occultism, and 4) Some bits of clinical psychoanalysis.
So, if after watching this movie, you ended up with some confusion, doubts or questions, you are in the right place because now, and without further ado, we will analyze and explain what was really going on… Wounds.