Fin, the most disturbing film of the year, a psychological horror over nothingness of existence.
Nihilism. Nothing. All existential questions erased at a stroke. That is what is proposed Fin, film starts as a sort of Lawrence Kasdan's The Big Chill, with colleagues of youth lost time and washing the dirty laundry of the gang and discovering they were much dirtier than they themselves had feared. From those dirty, figure born Prophet. Disturbing but at this point in the story yet fearsome. And with the figure of the Prophet, began to develop over the millennial story of disaster movies. But a catastrophe deaf, solid, mature, without special effects. And for all that much more disturbing.
Fin sends us into the street from the stalls with more questions than we did before entering the cinema.
Or with any questions.
And that is its magic.
Unclassifiable?? No. But risky. With a few well placed to tell what you have without compromise. Even when the most of the border touches of melodrama without daring to dive into revealing her erotic-festive linking two of the characters on the edge of a lake in which, as in many other natural landscapes that lurks story that eats anything everything and everyone.
There, in that sequence of revelation of character relationships, Fin shows, as in the rest of the footage, its territory, of course, consistent with the argument and its objectives, is the ellipsis, that parenthesis of what we see, parenthesis that nothing will fill the viewer with growing concern throughout the film.
The ellipsis reigns in the plot as a resource from the beginning narrative pulse dialing the story like a tuning fork. Continuing its consistency, Fin is also a disaster movie without catastrophe. Another ellipsis, ellipsis Maximum eliminate traditional thrilling sequences of chaos and devastation that prevail in this type of film. Mind you, this does not mean that no action sequences. What happens is that they are very well proportioned to maintain the reign of intrigue throughout the story. A growing intrigue increases during what is ultimately a travelogue of the characters, a "road movie" sinister.
But without histrionics. No gore. Without free scares.
All very cool, dare I say resignedly. Nihilist.
That in relation to the rate of the film itself naturally.
Because the characters live the catastrophe each in their own way and they all make their own journey of maturation in the story.
Characters that, as a road movie, or travel, are clearly contrasted with a terrifyingly beautiful landscape, which dramatically contrasts the beauty of emptiness, that nothingness that is the great antagonist of this group of players in corals each player has his shining moment, but where, if I may say, shines especially Maribel Verdú. Dramatically splendid and beautiful in their own journey of searching for answers and the outcome, which is possibly the most brutal ellipses, one in which the viewer can build their own images to fill what we did not see on screen.
It is in the final stretch of Maribel Verdú character when it becomes clearer that ultimately what is proposed to us as viewers is an interesting game of interaction with the film and its characters perfectly related to the topic of the argument.
The viewer spends playing first projection to solve the puzzle, but at the same time, second, imagine playing these images not get to see, these ellipses of which I spoke, trying to compose a puzzle that does not quite to reveal all its parts, even at the end.
That attempt to compose self what you miss seeing increases the viewer's state of unrest, reinforcing the intrigue, and gives a new nature as Fin piece for reflection film that has many points of contact with some theatrical approaches Anton Chekhov, although in this case it is the decline of a social class which planet we, as in The Cherry Orchard, but the demolition of an entire civilization, of an entire species, represented to the viewer in the gradual the demolition of another family who are the protagonists group of friends. As happened in the formula applied by Chekhov, the paladin narrative downtime always ready to print prevail over action, all the details are essential to those scenes in which only apparently, nothing happens.
And we got to talking about details of the best ideas of the film: the shift in my view of the great scenes of this genre catastrophe millenarian these charcoal drawings that we are getting the restlessness in the body from the start and they also serve as a narrative device, acting as flashforward. Make catastrophic action focuses on those drawings that game keeps Chekhov style in which printing is above the action itself.
Miguel Juan Payán
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