Un monstre à mille têtes

Un monstruo de mil cabezas is a compact film that is thrilling from start to finish and where every minute counts. It is a perfect use of film as a movement without hammering down its goal. Sonia Bonet, played fantastically by Jana Raluy, is a woman desperate and left without choices and in a now-or-never kind of moment, she proceeds to accomplish her goal whatever it takes. And her reasons are impossible not to sympathise with. It is perfectly paced, going from one location to the other while holding one's breath, and the emotional impact is strong.

In the vein of Falling Down, an ok-ish little gritty movie of the small guy vs the monstrous corporate.

Worth a watch that doesn't really go anywhere but the journey keeps you interested...

"Un Monstruo De Mil Cabezas" (A Monster with a Thousand Heads), directed by Rodrigo Plá, is a 2015 Mexican thriller that, while not a grand spectacle, effectively delivers its message within the confines of its modest budget. Plá's direction is characterized by a taut and efficient narrative style, prioritizing the suspenseful unfolding of events over stylistic flourishes. The film's cinematography, while restrained, aptly captures the protagonist's claustrophobic world, where bureaucratic hurdles and systemic corruption reign supreme.

Jana Raluy's performance as Sonia Bonet anchors the film, portraying a woman driven to the edge by an unyielding insurance company that refuses to authorize her husband's life-saving treatment. Raluy's depiction of Sonia's transformation from a submissive wife to a determined, and at times violent, advocate for her husband is both chilling and captivating. The supporting cast, including Sebastián Aguirre and Emilio Echevarría, deliver equally compelling performances, further enriching the film's exploration of moral ambiguity.

"Un Monstruo De Mil Cabezas" resonates with the frustrations and anxieties of contemporary society, where individuals often feel powerless against monolithic corporations and indifferent institutions. The film raises important questions about the systems that govern our lives and the lengths to which one might go to protect their loved ones.

While the film's bleak tone and unflinching depiction of violence may not be suitable for all viewers, it remains a powerful and thought-provoking work that warrants attention. It serves as a testament to the enduring ability of cinema to shed light on the darker aspects of society and to amplify the voices of those who feel unheard.

Greetings again from the darkness. Instances of the little guy fighting mightily against a bureaucratic monolith are featured often in cinema, so it's helpful to have an auteur like director Rodrigo Pla serving up his vision … in this case, a story from writer Laura Santullo.

In just the few opening scenes we quickly gain an understanding that this is an emotional story, and not one determined to spell out all details through intricate dialogue. Instead the lighting and camera focus on Sonia (Jana Raluy) as she tries to comfort her husband as he moans in pain (her face relaying that feeling we've all had as a loved one suffers so).

Next we see a determined and desperate Sonia … with teenage son Dario (Sebastian Aguirre Boeda) in tow … escalating her battle against the doctors, insurance company and pharmaceutical company that have seemingly conspired to prevent her husband from receiving the treatment he needs. Sadly, we easily see ourselves sliding into Sonia's shoes as she pursues the proper treatment for her husband – blackmail, kidnapping and assault laws be damned! Her fight against a corrupt and rigged system never gets easier, even after she uncovers documented proof that doctors are incentivized for high rejection rates. In other words, profits are priority over healing and treatment. Though set in Mexico, this personal desperation has been experienced by citizens of most every country.

Mr. Pla's expertise as a filmmaker is evident throughout. The use of a running courtroom narrative as a backdrop adds dimension to the otherwise minimal use of dialogue. Additionally, the camera work is stellar … especially in an early parking garage scene where we witness the first confrontation through the windshield of another car (assisted by that vehicle's headlights). It's yet another example of how emotional responses outweigh the verbal here, and why this story of fighting bureaucratic red tape goes beyond many others.

I will say that this was a thoroughly entertaining flick, but there were various problems throughout. From a character perspective, they were well-written and although short, the film's themes and ideas come across clearly. However, some of the cinematography is really distracting and instead of feeling like it was deliberate, it just comes across very strangely. Maybe it was intentional, but I found it to be lacking. However, that's as far as the flaws go. The performances are pretty good and the film's pacing is well-maintained through. It doesn't rush through things but it also takes its time. This is a solid film that is definitely recommended.