Director: Lluís Quílez
Producer: Josep Amorós, Pedro Uriol
Author: Fernando Navarro, Lluís Quílez
Forged: Javier Gutiérrez, Karra Elejalde, Isak Férriz
The freezing temperature and accompanying atmospheric mist is the titular character right here, as a result of it lends thriller to this Spanish thriller. On a street with thick sponges of mist, it’s exhausting to see what’s past what’s immediately in entrance of you. The makers use this metaphor to plot a jail break drama that’s taut in execution however is undone by its shoddy premise. The ethical: look past what’s most evident.
It’s an all male world. Two cops Martin (Javier Gutiérrez) and Montesinos (Isak Férriz) are tasked with transferring six criminals from one jail to the opposite. It’s Martin’s first day, and the primary we see of him, it’s pouring, and he’s trying to repair a tyre as his younger daughter sits inside mulling why previous tyres are thrown to herald the brand new. Her first lesson in disposability. Each— tyres and daughters— turn into necessary because the 1 hour 50 minute film plods alongside.
The prisoners are transferred with scientific precision—handcuffed, put in separate cells in a giant car, and as they’re locked in, they put their handcuffed arms out via a giant slit within the door for the policemen to uncuff them. The criminals have backstories, and because the night time progresses a few of these are introduced out. Ramis, probably the most jovial, simply desires out— he desires to open a bar which performs Bambino all day and serves the very best Tapas. Others are extra grim. One among them notes the logistics of holding somebody captive, the price to the taxpayer to maintain prisons working and prisoners in. It’s a throwaway second—that we anticipate individuals to pay cash to maintain individuals convicted of violent circumstances in violent circumstances with simply sufficient to remain alive. The prison-industrial advanced isn’t designed to reform, however to strengthen violence.
Because the prisoners are being transferred there’s an try at breaking in. Is that this to rescue a prisoner? Is that this to take a prisoner and cope with them personally? Is that this an anti-state intervention? The intentions uncloud because the misty night time thickens, and it’s right here that the taut thriller loses its edge.
The all-man-world is a mandatory template right here. All of the cops, and all of the prisoners are males. Ladies are shadows on this story— the spouse and kids whose display screen presence is relegated to images and cellphone screensavers, the daughter that’s raped, the sister that’s raped, and these rapes that should be avenged by the burly, grunting males.
This isn’t to say that the movie performs out completely with the cliche saviour advanced. It notes the futility of violence in in search of justice. When one of many prisoners talks about killing the person who raped her sister, one other prisoner appears at him and notes, “No offence, however did that assist your sister?”
Whilst it’s self-aware of this, it milks the trope until the climactic showdown between the revenging and the revenged. It unfurls with out stress and all that mystique and tautness that the movie started with bloats right into a boredom. The fun is not in how the violence is carried out, however within the grotesqueness of the violence— the burned our bodies, the drill via the pinnacle, the bullet smashing a hand into smithereens of muscle bleeding into the snow.
The rape revenge drama has usually been couched beneath the thriller style, giving it intention and emotion. However it’s an previous trope that foregrounds males in tales of violence towards ladies. Holding onto this aged adage is like holding onto the previous tyres of a automotive. It’s punctured, deflated. Change it. Martin did it, whilst his daughter sulked via it.