The story begins in 1993. Young good-natured Anna, sends his sick father home, and instead she remains a mechanic in the cinema. The girl knows how to quickly glue the thin film, but she does not know how to resist the serial maniac, lurking somewhere in the hall among the visitors, squeaking them one by one. . .
Uruguayan slasher, so giving a whiff of horror movies 70-80-ies. The film reminded me of Lamberto Bava’s Demons, and the musical accompaniment refers to the work of Dario Argento. And since I mentioned Argento, there are all the components for the gallo subgenre: a strangler in leather gloves, key scenes flooded with neon light, a pulsating color scheme.
The director is most likely a fan of old-school slashers, because he treated his creation with love and awe. He mixed the uncomplicated plot with an unstoppable thirst for murder, seasoned with a copious portion of blood. Therefore, the scenes of meat reprisals turned out to be nostalgic warm - moderately vile, cruel and naturalistic, with an abundance of bright maroon blood (another sign of a ghallo).
But what the film lacks is intrigue, or a more thought-out detective line, as the finale offers no surprises other than the killer’s shocking obsession. On the will of the writers, but even in the most passable slashers try to twist the finale for an unexpected denouement.
Moral: In the cinema, anyone can suddenly become a maniac when a company of pigs sniffing food and loudly discussing everything that happens on the screen sits next to you.
As a result, the film is most likely intended as a tribute to the genre for those who still remember, honor and love old slashers and Jallo. If the tapes filmed about murder for the sake of murder are alien to you, it is better to miss.
6 out of 10