The Glass Coffin

The Glass Coffin

The Film:


The Glass Coffin (El ataud de cristal) comes a little late to capitalize on that limited-lived burst of desire in one-location survival thrillers from a number of several years again, but if the context of such a movie possesses a sturdy hook, then the innovation and claustrophobia concerned with the notion nonetheless retains the possible to strike a chord. In which other people explored themes like the value of a solitary civilian caught in the throes of war or the ways in which preparation and rudimentary medical understanding can appear in handy for the duration of dire conditions, this tale of survival tackles a cultural, much more metropolitan critique, focusing on the seedy corners of the filmmaking enterprise and the objectification of actresses. Brash neon visible language and a willingness to cross lurid boundaries convey a boldness of eyesight for The Glass Coffin, but Spanish writer/director Haritz Zubillaga deliberately keeps relatability and compassion involving this victim at arm’s size, amounting to an excessively gritty, inconsistent mix of kidnap thrills and torture porn.

Dressed to the nines for an evening of celebrating the achievements of her storied career, movie actress Amanda (Paola Bontempi) slips into the well-stocked, neatly-lit cabin of a large limousine. Whilst going more than her speech in the automobile, in which she waxes poetic more than the first film that leap-started out her job some two a long time prior, the limo discreetly turns into a prison by locking the doorways and shutting off cellphone support. With zero management above the compartment — including the content flashing on Television screens, actively playing a variety of movie clips and interviews — Amanda is then confronted by a camouflaged voice over the intercom, nearly as if it is pouring out from the central crimson digicam reminiscent of HAL from 2001: A Place Odyssey. This voice has a lot more private and confrontational plans for the actress, major to a string of mental, physical, and sexual torture tactics that Amanda makes an attempt to decipher as clues as to who her captor might be.

A essential element of this variety of survival movie hinges on how the victim develops their persona in the course of the early phases of the ordeal, and Amanda has lots of time to converse to the viewers in the early elements of the limousine trip as she recites her speech and chats with her substantial other on the mobile phone. Director Zubillaga gets carried absent with the visual language early on, exactly where streams of lens flares and passing lights in the windows express as well strongly that the actress is genuinely in movement going someplace, offering a annoying aesthetic distraction although she ruminates upon and scoffs at her human body of perform. The intention of The Glass Coffin revolves all around the viewers getting little evident thoughts, both positive or damaging, towards Amanda as a particular person as soon as the situations flips from a limo escort to a kidnapping scenario, which, by performing so, mutes some of the heroic bias from the situation and presents the captor’s motives a chance to be comprehended on a degree beyond sheer, perverse villainy. This could show to be fascinating, in a Observed “Let us play a sport” sort of way, below the correct situations.

The Glass Coffin instantly hits many speedbumps while revving up the audience with provocations, weakening the film’s likely to achieve much more than hostile exploitation. At very first, the captor’s reasons for abducting Amanda appear like they may possibly gravitate towards the recent fascination with observing famous people in intimate or compromising conditions, probably reworking into a twisted commentary on leaked pictures/films, nudity in innovative operates, and privacy. Director Zubillaga’s perspective on the captor’s desires for the end result of this whole situation lacks consistency and conviction, however, producing purple herrings close to the real purpose behind Amanda’s seize to keep the mystery intact for a extended as attainable. This has an alternate, regrettable facet-influence: this absence of very clear, precise intent forces the abrasiveness of what goes on in the illuminated limousine to stand on its very own, and it starts off to resemble pure shock worth after the captor’s calls for start shifting around.

Underneath the troubling glow of purple and blue temper lights, The Glass Coffin enters some quite darkish places that outcome in an unsettling viewing knowledge, despite director Zubillaga’s visible panache. Bloody beatings, manipulation with painkillers, and visualized scenes of sexual violation make for a nightmarish descent into the lengths in which somebody will humiliate another out of existential disappointment and covetousness, all of which requires area inside of the claustrophobic — nevertheless, compared to an real coffin, roomy — place of the limousine’s backseat. Powerlessness and a warped grasp on trust become driving forces guiding the uncooked suspense, but they in the end revolve close to this inauthentic and deceitful voice of a villain who claims they are going to in no way lie to Amanda, which retains the potential to be intriguing had they, y’know, obeyed mentioned claims. They never, and even with the voice’s explanations as to why this or that isn’t really a lie, it’s unclear whether the film’s aware of this concern or not. When you happen to be working with rape sequences, context and compound are what maintain them from devolving into pure schlock.

Sure — mild spoiler inform! — the identification of the captor doesn’t continue to be a secret throughout the entirety of The Glass Coffin in simple fact, disclosing who they are turns into an elaborate try to flood Haritz Zubillaga’s torture thriller with meaning, one particular certain far more immediately to the cutthroat filmmaking business. Frankly, the movie would’ve been greater off experienced it introduced from the start, just as before long as the limousine locks shut and turns into a prison, who Amanda’s captor was and the true causes for her imprisonment, major into twisted discussions in between the two in the limited place with entire recognition of the bleak rationale behind it. Employing the limo as a one area for a volatile movie star abduction would’ve been sufficient of a hook without a hodgepodge of enigmatic diversions puzzling the viewers about who’s behind the voice, which comes across as a disingenuous buildup to an amped, preposterously dramatic reveal. Alternatively of relishing the film’s monstrous stress and the moral ugliness behind it, The Glass Coffin simply can make a single want the ordeal to be over with as shortly as achievable.

Video and Audio:


In essence, there are 3 states to the visual language of The Glass Coffin: darkish shadows with large purple lighting, dark shadows with weighty blue lighting, and “normal” lights that primarily captures the all-natural shades of Amanda’s pores and skin tone and garments. The two.35:1-framed, 16×9 transfer isn’t going to have it effortless, constantly at war with assertive shadows that actively want to swallow up the specifics of the limousine’s backseat, but the transfer from largely retains the motion seen in the negative space, or at the quite least isn’t going to impose upon the creative endeavors of these kinds of large shadowing. In the course of these typical patches, Amanda’s skin tones veer warm and marginally orange, but that is to be predicted of the “common” lighting of a limo. Depth is sturdy adequate in the shine of steel, the slosh of fluid in a vial, and the contours of a digital camera lens. Sounds can get large and some black amounts veer in each washed-out and extremely darkish stages at specific factors, but The Glass Coffin‘s beauty is contained nicely on DVD.

It is effortless to see how the soundtrack for The Glass Coffin could, feasibly, be playful in a surround surroundings, so it is regrettable that only a stereo observe accompanies the prosperous visual transfer. Seems like the compression of computerized opening and closing doors, the snapping open up of a baton, and the scorching of a broken personal computer display hit effectively-pitched substantial notes and midrange heft. Paola Bontempi’s dialogue is abundant, clear, and normal, while the greatly distorted verbal stream from her captor can get extremely grumbly and indistinct. The track serves the film’s scope well adequate, and the Spanish subtitles are primarily fine, even though not with out a few grammatical problems here and there.

Particular Characteristics:


Nada.

Closing Thoughts:


The Glass Coffin traps quite a bit of excessive articles in the area of a one particular-location thriller, but it doesn’t have the compound or coherence of vision to give its ugliness ample of a purpose to be up on the display. Haritz Zubillaga telegraphs uniquely colourful and claustrophobic visuals within the spaciousness of a glowing limousine backseat, and Paola Bontempi’s performance yields a qualified grey-region depiction of an actress with a questionable trajectory to achievement. The ordeal she goes by means of steers as well much into the lane of perverse shock-benefit artifice for its own good, undercutting its shallow critiques of ambitiousness in the film market in the procedure. It is more aimlessly uncomfortable than genuinely tense, which isn’t going to service the overwrought revelations in the ending so well. Some may possibly locate it is really worth a rental for the performances, but the futilely objectional slant of the material mainly makes this one particular greatest to be Skipped.


Thomas Spurlin, Personnel ReviewerDVDTalk Reviews | Individual Website/Website


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Printed at Mon, twenty five Sep 2017 11:47:fifty +0000

content articlesThe Glass Coffin

The Movie:


The Glass Coffin (El ataud de cristal) arrives a minor late to capitalize on that short-lived burst of desire in one particular-location survival thrillers from a number of years back again, but if the context of this kind of a film possesses a strong hook, then the innovation and claustrophobia included with the notion nevertheless retains the potential to strike a chord. In which others explored themes like the well worth of a solitary civilian caught in the throes of war or the approaches in which planning and rudimentary health care information can occur in helpful for the duration of dire situations, this tale of survival tackles a cultural, far more metropolitan critique, concentrating on the seedy corners of the filmmaking enterprise and the objectification of actresses. Brash neon visual language and a willingness to cross lurid boundaries convey a boldness of eyesight for The Glass Coffin, but Spanish writer/director Haritz Zubillaga deliberately retains relatability and compassion involving this sufferer at arm’s length, amounting to an excessively gritty, inconsistent mix of kidnap thrills and torture porn.

Dressed to the nines for an evening of celebrating the achievements of her storied occupation, film actress Amanda (Paola Bontempi) slips into the nicely-stocked, neatly-lit cabin of a large limousine. Even though going more than her speech in the automobile, in which she waxes poetic in excess of the original movie that leap-commenced her occupation some two many years prior, the limo discreetly turns into a prison by locking the doorways and shutting off cellphone services. With zero manage more than the compartment — which includes the material flashing on Tv set screens, playing a range of film clips and interviews — Amanda is then confronted by a camouflaged voice in excess of the intercom, nearly as if it’s pouring out from the central pink digicam reminiscent of HAL from 2001: A Area Odyssey. This voice has more personal and confrontational ideas for the actress, foremost to a string of psychological, actual physical, and sexual torture techniques that Amanda makes an attempt to decipher as clues as to who her captor may possibly be.

A vital part of this type of survival film hinges on how the target develops their character during the early stages of the ordeal, and Amanda has a lot of time to communicate to the viewers in the early parts of the limousine ride as she recites her speech and chats with her important other on the phone. Director Zubillaga gets carried absent with the visible language early on, exactly where streams of lens flares and passing lights in the windows express too strongly that the actress is genuinely in motion going someplace, supplying a frustrating aesthetic distraction while she ruminates on and scoffs at her physique of function. The intention of The Glass Coffin revolves all around the viewers having little clear thoughts, both constructive or damaging, towards Amanda as a particular person once the conditions flips from a limo escort to a kidnapping situation, which, by carrying out so, mutes some of the heroic bias from the scenario and provides the captor’s motives a likelihood to be comprehended on a amount over and above sheer, perverse villainy. This could show to be fascinating, in a Observed “Let us play a game” sort of way, beneath the right circumstances.

The Glass Coffin instantly hits many speedbumps although revving up the viewers with provocations, weakening the film’s likely to achieve more than hostile exploitation. At very first, the captor’s motives for abducting Amanda look like they may well gravitate toward the recent fascination with looking at superstars in intimate or compromising situations, possibly reworking into a twisted commentary on leaked images/video clips, nudity in imaginative operates, and privacy. Director Zubillaga’s point of view on the captor’s wants for the result of this complete circumstance lacks regularity and conviction, however, generating red herrings close to the genuine purpose behind Amanda’s capture to maintain the secret intact for a long as achievable. This has an alternate, regrettable aspect-influence: this absence of clear, specific intent forces the abrasiveness of what goes on in the illuminated limousine to stand on its own, and it commences to resemble pure shock worth when the captor’s demands commence shifting about.

Underneath the troubling glow of red and blue temper lighting, The Glass Coffin enters some pretty darkish locations that consequence in an unsettling viewing expertise, despite director Zubillaga’s visual panache. Bloody beatings, manipulation with painkillers, and visualized scenes of sexual violation make for a nightmarish descent into the lengths in which an individual will humiliate yet another out of existential disappointment and covetousness, all of which takes location in the claustrophobic — but, in comparison to an actual coffin, roomy — place of the limousine’s backseat. Powerlessness and a warped grasp on have faith in turn into driving forces driving the uncooked suspense, but they in the end revolve close to this inauthentic and deceitful voice of a villain who promises they’ll never lie to Amanda, which holds the potential to be intriguing experienced they, y’know, obeyed mentioned statements. They never, and regardless of the voice’s explanations as to why this or that isn’t really a lie, it’s unclear whether the film’s conscious of this concern or not. When you are functioning with rape sequences, context and compound are what preserve them from devolving into pure schlock.

Sure — moderate spoiler warn! — the identity of the captor doesn’t stay a secret during the entirety of The Glass Coffin in reality, disclosing who they are becomes an elaborate endeavor to flood Haritz Zubillaga’s torture thriller with indicating, a single sure more directly to the cutthroat filmmaking industry. Frankly, the film would’ve been far better off had it declared from the commence, just as soon as the limousine locks shut and turns into a prison, who Amanda’s captor was and the true causes for her imprisonment, foremost into twisted conversations amongst the two in the limited room with entire awareness of the bleak rationale powering it. Employing the limo as a single location for a volatile superstar abduction would’ve been sufficient of a hook without a hodgepodge of enigmatic diversions puzzling the audience about who’s powering the voice, which arrives throughout as a disingenuous buildup to an amped, preposterously spectacular reveal. As an alternative of relishing the film’s monstrous tension and the moral ugliness powering it, The Glass Coffin just can make one particular want the ordeal to be above with as shortly as attainable.

Movie and Audio:


Basically, there are 3 states to the visible language of The Glass Coffin: darkish shadows with weighty crimson lighting, dim shadows with heavy blue lighting, and “standard” lights that primarily captures the natural shades of Amanda’s skin tone and garments. The two.35:one-framed, 16×9 transfer doesn’t have it effortless, continuously at war with assertive shadows that actively want to swallow up the particulars of the limousine’s backseat, but the transfer from mainly retains the action noticeable in the negative area, or at the really the very least does not impose upon the creative endeavors of this sort of hefty shadowing. In the course of these regular patches, Amanda’s skin tones veer warm and somewhat orange, but that’s to be anticipated of the “common” lighting of a limo. Element is powerful ample in the glow of steel, the slosh of fluid in a vial, and the contours of a digital camera lens. Sound can get hefty and some black levels veer in both washed-out and extremely dim ranges at certain factors, but The Glass Coffin‘s splendor is contained properly on DVD.

It truly is easy to see how the soundtrack for The Glass Coffin could, feasibly, be playful in a encompass setting, so it is unlucky that only a stereo track accompanies the prosperous visual transfer. Seems like the compression of computerized opening and closing doorways, the snapping open of a baton, and the scorching of a broken pc display strike well-pitched substantial notes and midrange heft. Paola Bontempi’s dialogue is abundant, thoroughly clean, and all-natural, whilst the heavily distorted verbal stream from her captor can get overly grumbly and indistinct. The observe serves the film’s scope well enough, and the Spanish subtitles are mainly fine, even though not with out a couple of grammatical glitches below and there.

Specific Functions:


Nada.

Closing Views:


The Glass Coffin traps very a bit of severe content material inside of the room of a one-spot thriller, but it does not have the substance or coherence of vision to give its ugliness ample of a explanation to be up on the display screen. Haritz Zubillaga telegraphs uniquely vibrant and claustrophobic visuals within the spaciousness of a glowing limousine backseat, and Paola Bontempi’s functionality yields a competent gray-area depiction of an actress with a questionable trajectory to good results. The ordeal she goes via steers as well considerably into the lane of perverse shock-value artifice for its very own very good, undercutting its shallow critiques of ambitiousness in the movie sector in the method. It’s far more aimlessly uncomfortable than genuinely tense, which will not service the overwrought revelations in the ending so properly. Some may find it’s really worth a rental for the performances, but the futilely objectional slant of the material mainly tends to make this 1 best to be Skipped.


Thomas Spurlin, Personnel ReviewerDVDTalk Testimonials | Private Weblog/Web site


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Printed at Mon, twenty five Sep 2017 11:forty seven:fifty +0000