Im Glaskäfig

No distributor has been foolish enough to try and get this film past the British film censors, (you have to pay, even if your movie is rejected), but it was shown at two local festivals, and at the London screening, an initial audience of about 150 was reduced to a mere 12 by the end. It is unremittingly grim, harrowing and disturbing, and yet it probes the darkest depths to which humankind can sink, and demands that we confront "the unspeakable" which is so often avoided precisely because it is to painful to even speak about. My only moral reservation about this film is the use of very young actors in it. Although on the end credits there is a disclaimer stating that the highest standards of probity were employed during the film's production with regard to minors, I cannot see how some scenes were filmed without the youngsters having some idea of their sado-sexual context. Under British law, the public exhibition of such a film would be illegal unless it could be proven that clever editing etc., avoided these minors being aware of the scene's context. That said however, it is a film I would defend since it goes to the very heart of humankind's propensity for cruelty and barbarism, using the metaphors of authoritarian politics and authoritarian sexuality. And, after all, the film only shows being done to humans what society daily visits upon the animal kingdom - it is just a question of degree. To describe it as a "horror" film is wrong; it is unique and beyond categorization, although "horrendous" is certainly apt.

Klaus, a crippled former Nazi doctor is now living out his days in an iron lung, with his wife Griselda caring for him on a full time basis. She resents this fact as she has no time for herself or their daughter Rena. So when Angelo, a young man comes calling claiming to be a nurse she employs him, but soon becomes suspicious of his credentials and she's right to be as he has ulterior motives for taking the position. As a child he had spied on Klaus's killing spree and had in fact taken his notes on killing and hid the body of his last victim, as Klaus in grief had tried to kill himself, which just resulted in him being paralysed. Angelo wants to become just like him and teases Klaus, urging him to give in to his lustful murderous cravings one more time, Klaus denies him but eventually gives in as he is scared his real past will be revealed to his family. Uber disturbing incite into the minds of a dying Nazi killer and a killer in the making, Villaraonga's film explores the dark realms of paedophilia, torture and child killing in a very open way, but without resorting to sensationalism. A hard film to watch, it remains riveting but not for all tastes. The ending is also likely to confuse many.

but I hasten to add, what the director aims to achieve is neigh unattainable.

In the DVD interview, the director says he was inspired by Georges Bataille and that author's study of Gilles de Rais, the French lord who helped Joan of Arc's campaigns, apparently with exemplary Christian zeal, and who later in life became the world's most notorious torturer and killer of children.

Bataille examines human passion with surgical precision. And he doesn't just analyse: his writings evoke the power chords of 'love' that draw their separate ways sinner and saint.

Villaronga's film falls into 'horror' genre mode at key moments in the story's development. If the director could have depicted his characters' behaviour with sustained realism, his film would , like Bataille's work, tell us more about the nature of evil and be indeed a masterpiece of cinema.

As it is, 'In a Glass Cage' is most beautifully realised with remarkable actors and isn't, finally, altogether a 'horror' film: there's enough realism to give us cause for thought.

There are few films as utterly repulsive - but nonetheless distinctive and well-made - as Tras el cristal. This Spanish assault on the senses is the terrible tale of a nazi torturer whose cruel desires for murdering and abusing young boys leads him to attempt suicide. His failure leaves him imprisoned in an iron lung - and us viewers in his grotesque and dirty nightmare. Attended by an assortment of ghoulish figures he deliberates his history. A new nurse is employed, however, who has a special interest in "caring" for this impotent nightmare of an individual. From there the film becomes a black vision of the psychological and physical scars which can destroy individuals and the violent force of tainted memories and shredded, wasted lives. Its a graphic film but doesn't dwell or portray the reprehensible acts of the lead character. It does contain some horrific violence and torture though spares the audience representation of the sexual abuse and more extreme details which the script skirts over.

Marisa Paredes - a familiar face from numerous Pedro Almodovar films - is suitably creepy in a small role. This film will get under your skin like a mite and disturb you for quite a while. Its nonetheless memorable and well-constructed but an endurance text for audiences used to much more "clean" treatments of these issues in American films. The film plays like a nightmare and is continuously and utterly bereft of emotion - one of its most disturbing elements amongst many, many others. But this very lack of emotion goes some way to interrogating the consciousness of the terrifyingly blank lead character. It remains banned in Australia and other territories in the early part of the 21st century. While not deserving this fate, it is not a film many will be able to bear I imagine. Its not certain the point and vision of this film goes anywhere but deep inside, rotting the soul's core. In any case, its reputation has assured it will be seen in the wrong context and for the sake of shock. Not that there's anything wrong with that... except this film begs for a more considered approach even if it goes all grand guignol and over the top in its closing 1/3.

I picked this movie out of my library's Spanish video selection and was I surprised while watching this masterpiece! I have never seen anything like it in my life. David Sust is my favorite new actor. What a role! His childhood tormentor- the Nazi- is very convincing as an invalid. I am in awe of the young girl Rena, who plays the daughter. How can these kids be such convincing actors. I tip my hat to them and their acting coaches. The Mother- Marissa Paredes, was great, as well. She is one of my favorite female actresses. I had no lingering questions after watching this film in comparison with watching American movies nor, was there any fancy endings, tying it all together. I could not take my eyes off of the screen; as a matter a fact, I watched it twice! Bravo!