Friday, 14 October 2022 – 16:04
- Gender: Terror
- Director: Charlotte Pereda
- Year: 2022
- Duration: 90
- Nationality: Spain
- Actors: Laura Galn, Claudia Salas, Camille Aguilar, Pilar Castro, Carmen Machi
The fact that little pig, Halloween: The End and the shouts emitted from the windows of a Colegio Mayor de Madrid coincide on the billboard cannot be a coincidence. Nor is it clear that it is a matter of Providence. That yes, put to bet, everything indicates that less money is lost in the second than in the first. Not in vain, the three films, to start with the most basic, are terrifying. All three run largely in the dark. In all three, the aggressor is a man (or several) determined to assert issues such as brutality, lack of scruples or, simply, blind terror resulting from: a) violence, b) hierarchy and c) obedience. And in the three, graphically or figuratively, there is blood. Of course, as you may have already deduced, the victims are always women. Casual or, given the world we have given ourselves, rather causal?
But with everything, there is something else that unites them and that further removes the possibility of mere coincidence. Jason Zinoman in his classic studio bloody session about Modern Terror devised by people like Carpenter, Craven or Hooper he spoke of what he called the “terror of uncertainty.” Just as zombies find themselves in an indefinite place between life and death, classic characters like Michael Myers (the protagonist precisely of the saga Halloween) or the killers of The Texas Chainsaw Massacre they themselves are victims unable to find a place between the trauma they carry and the pain they generate; they are creatures that cry out for revenge as well as take refuge in the guilt that consumes them. And it is there, in their lack of definition, that they appeal to the viewer to simply confuse us. Ultimately, the certainty that they could be like us is the real root of terror, the terror of uncertainty.
little pig, which is the one that concerns us, is in fact the only one of the three that is aware of the chance we are talking about, which, in truth, is causality. If the screams machirulos from the windows on YouTube is simply the terrifying expression of a social evil and Halloween: The End advances (until it ends) in the construction of the great myth of evil without form that Carpenter created in 1978, Carlota Pereda’s exceptional film is built entirely on both the real and current evidence of the first one and on the cinematographic heritage of the film. second. And all this to build a refined device that equally calls for the denunciation of our daily life as well as for the clarification (and also denunciation) of a way of making movies that is not as innocent as has always been believed. More uncertainty…
The result is a film as brilliant as it is revealing, committed to turning each of the common places that inhabit us
The feature film that was previously a short film awarded with a Goya is, in effect, a horror film, but it is not so much for what it says as for the cruelty of what it shows. The hue matters. It is a genre film and, because of the enigma of homographic words (they are spelled the same, but they mean different), it is also a calculated allegation against gender impositions. It is ‘slasher‘ (movie with disturbed killer and sharp knife), but the victim is in charge. It is terror, but without giving up the comedy of manners. If to all this is added the meticulous replication that he proposes of the rules typified by that Modern Terror of before, we can reach the conclusion that it is the most brilliant and sonorous contradiction. And there, in the paradox, in the uncertainty, where precisely its meaning resides.
little pig tells the story of an obese young woman. Or just fat. Sara, whom she brings to life with excessive daring Laura Galn, it is the target of all the jokes, of all the harassment, of all the traditions, of all the shouts from the windows. And so on until one day he arrives in the town where he lives and suffers, a wild and very crazy murderer willing to sow terror while imparting his very particular sense of justice. It will be then that the victim of all, Sara, will have to choose between saving those who were previously her harassers (therefore, guilty) or take pity and protect the one who seems to be her savior. If they get lost, that’s what it’s all about. Again, the uncertainty of before.
The result is a film as brilliant as it is revealing, committed to turning each of the common places that inhabit us upside down. Beauty doesn’t have much to do with what we’ve been told, nor is the victim exactly what she looks like, nor does the protagonist simply shout: suffering, quite the contrary, is his strength and the certainty of being different, his true pride. And so what remains is a film that confuses us and warns us, amuses us and terrifies us; a film capable of convincing both in the distant Sundance (where it premieres) and in the nearby town of Extremadura where it runs. The cries of the ‘ahujos‘ justify their opportunity, and the latest installment of ‘Halloween’ its modernity. Without a doubt, one of the most obvious surprises of the year for a Spanish cinema that never ceases to amaze.
- + Pereda’s wisdom when placing little pig at the exact point between comedy and dread more than scaring, that also excites.
- -The excessively happy script in each of its occurrences does not always help the flow of the narrative.
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Little Pig: the terror of being different at the Ahuja Residence Hall, which is life