* * * PLEASE NOTE THAT THIS REVIEW CONTAINS SPOILERS THROUGHOUT * * *People often turn to movies when a proper escape from reality is needed, but sometimes we’re taken to a place that’s anything but a “safe retreat" /> * * * PLEASE NOTE THAT THIS REVIEW CONTAINS SPOILERS THROUGHOUT * * *People often turn to movies when a proper escape from reality is needed, but sometimes we’re taken to a place that’s anything but a “safe retreat" />

Reviews: the corpse of anna fritz

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The Corpse Of Anna Fritz is a morally-repugnant thriller that shines a dark spotlight on our celebrity-obsessed culture, but the film"s taboo doesn"t overshadow the conflict at play.

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* * * PLEASE NOTE THAT THIS REVIEW CONTAINS SPOILERS THROUGHOUT * * *

People often turn lớn movies when a proper escape from reality is needed, but sometimes we’re taken to lớn a place that’s anything but a “safe retreat.” The Corpse Of Anna Fritz is one such film that would rather prod about our moral makeup than offer a cheerful fantasy, but without exploring the darkness, we might never stumble upon the revealing stories that take a little more digging khổng lồ find.

Now, to be fair, I’m not referring lớn director Hèctor Hernández Vicens and co-writer Isaac Phường. Creus’ statements about necrophilia – those are waters never to be traversed. I’m more interested in the dilemma that unfolds after a morgue is turned inlớn a sexual playground, which, while sounding sickly disturbing, offers a horrifying admission of faults only brought upon by guilty convictions.

Vicens’ film follows three friends who start pre-gaming for the night’s activities with a famous celebrity named Anna Fritz (Alcha Ribas), but there’s a catch – Fritz is dead. Pau (Albert Carbó) works as a hospital orderly, which sounds like a drag, so his friends Ivan (Cristian Valencia) and Javi (Bernat Saumell) drop in to lớn lift his spirits. But why vì lines of coke & rip shots when all the entertainment you need is hidden in the hospital’s morgue, covered in a Trắng sheet? Everyone wants to lớn see the corpse of Anna Fritz, but these lucky bastards have the opportunity – an opportunity they turn into a necrophiliac’s wet dream. Wouldn’t you want lớn be the last man to lớn bed Anmãng cầu Fritz?

As expected, The Corpse Of Anmãng cầu Fritz does not kết thúc once the final injection of man-meat is administered. As Pau is thrusting away at the presumed-to-be lifeless corpse, Anmãng cầu opens her eyes and catches the men with their pants down (well, one of them at least). What begins as a stomach-churning act of necrophilia turns inlớn a full-blown case of rape as soon as Anmãng cầu regains consciousness, and the questions already swirling around our minds khung a moral tornavì of repulsive sầu proportions. It’s here where Creus’ story evolves into a suspenseful kidnapping thriller about three friends now faced with a criminal choice – save the girl who can identify two of them as corpse-humping rapists, or silence Anna Fritz forever.

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Buying into the absurdity on-h& will rely on your ability lớn never question why Anmãng cầu Fritz awakens. We learn from an introductory voice-over that Anmãng cầu was found in the bathroom during some sort of tiệc nhỏ, but her miraculous resurrection is never met with much reason. If you’d lượt thích khổng lồ dissect the medical rationale behind Anmãng cầu coming bachồng to life (& not as a boss khủng or zombie), there’s a very good chance that you’ll ruin The Corpse Of Anna Fritz before you open your mind lớn the mystery unfolding. I suggest you fight this urge, because Vicens’ first feature sure doesn’t play like one.


The film itself is abhorrently disturbing in its practice, but the claustrophobic horrors that haunt each scene delve relentlessly deep into the psyche of everyone involved. Javi never partakes in the “festivities,” so his only intentions involve setting Anmãng cầu Fritz không tính phí. This rubs Ivan the wrong way, because it’s his idea khổng lồ keep Anmãng cầu Fritz dead, just lượt thích the entire population already assumes. Pau shows an obvious hesitation to follow Ivan’s deranged spin on things, but he also cowers at the thought of his parents learning about what he’s done. Their heads butt, fists are thrown, & the proverbial pot boils over when they find themselves locked inside the morgue with only one convoluted method of escape.

The horror doesn’t come from bloodied floors and violent outbursts, but instead man’s primal instincts of protection, và more importantly, Anna’s state of paralysis. The subtext is flowing with society’s celebutante obsession, translated inkhổng lồ a maddening decision lớn violate a young woman’s lifeless body, but the abusive sầu fear caught in Anna’s eyes immediately strikes viewers through her cold, helpless stare. The savage disregard for humanity in that one gripping second instills something so raw, so upsetting, and that’s really thanks khổng lồ Ribas’ constrained performance. She gets khổng lồ act out her own homage khổng lồ Uma Thurman’s “Bride” in Kill Bill, reminiscent of the character’s own hospital bed resurrection, except Ribas spends most of The Corpse Of Anna Fritz without many of the motor skills that would make escape easy. The stakes are heightened, yet Anna must fight insurmountable odds without the aid of physical strength, only her manipulative sầu speech.

With that said, The Corpse Of Anmãng cầu Fritz is not a perfect thriller – but it’s an aptly paced ride that doesn’t shy away from divisive sầu boundaries. There’s an icky, sinful nature to Creus’s story, yet the moments of necrophilia are never grotesquely exploited in a deviant manner. Translation: we’re not forced khổng lồ turn Vicens’ film off immediately upon humpage (this isn’t A Serbian Film). Some faith is lost in the laông chồng of explanation, given Anna’s ability lớn just wake up in a morgue after being pronounced dead-as-a-doornail, but ignoring that fact makes for an exciting experience. Well, more precisely, an exciting ENOUGH experience.