The Hidden Face

This Colombian film - quite rare in European cinemas - has a good suspense source, enabling to create a thrilling story about love and its related topics (jealousy, faithfulness, yearning, etc.), visible is rather extreme circumstances. Regretfully, the first half or so is quite plain and protracted, and contains questionable plot elements, e.g. why the police looked on the disappearance matter so seriously. Inclusion of Nazi topic into a Latin American society is not fresh either. True, there were some interesting twists, but the very end could have been more concrete or revenge-related, the current one created a kind of vacuity, no quivering.

Characters seems realistic, but apart from Clara Lago as Belén, there were no catchy performances, preferable particularly in case of events happening in limited space. But all in all, La cara oculta is a far-above-average thriller, with its duration of less than 1,5 hours.

A Spanish orchestra conductor named Adrián (Quim Gutiérrez) receives a video message from his sweetheart Belén (Clara Lago), in which she breaks up with him , after that , she is suddenly disappeared . Then the orchestra conductor has to deal with the mysterious disappearance of his girlfriend and he is main suspect . Her sudden disappearance leaves Adrián dejected , confused but keen to move on, as he swiftly becomes romantically involved with barmaid Fabiana (Martina García). The pair fall madly in love as Fabiana moves in with her new lover. However her opening few days at her new residence are tainted by a paranoia that she is being haunted , following a string of mystifying incidents taking place in the bathroom and bedroom . Fabiana, begins to spend time in the house alone she starts hearing noises and experiencing odd events. Could Belén be reaching out from beyond the grave for vengeance? Or is there something even more sinister at play ? It does have mysterious happenings in a big , spooky house along with pain, suffering of one or two scorned women.

This is an intriguing and suspenseful Colombian/Spanish co-production full of thrills , chills and twists and turns . ¨La Cara Oculta¨or ¨The Hidden Face¨ is a compelling tale of intersecting narratives, in a feature that could quite easily be released as two separate film . Despite being somewhat of a cinematic cliché, rarely has a feature been so aptly deserving of its description as a film of two halves . Acceptable performance by protagonist trio as Quim Gutierrez as wealthy , voguish orchestra conductor engaged to a Spanish girlfriend well acted by Clara Lago , whose sudden disappearance leaves Adrián stressed , saddened , leaving him the number one suspect in the eyes of the police , but he takes up with another woman shortly thereafter, , as he spontaneously becomes passionately involved with barmaid Fabiana finely played by the gorgeous Colombian actress Martina García . Furthermore , a special appearance of veteran and experienced actress Alexandra Stewart as a landlady . Thrilling and mysterious musical score by Federico Jusid . Glamorous and luxurious cinematography by Josep M. Civit . The motion picture was compellingly directed by Andrez Baiz in his second film , the first was ¨Satanas¨in which also worked Martina Garcia . Rating : Notable , above average , worthwhile watching .

I have watched the remake of this movie ''Murder 3'' and after watching this I understand, it is far more better. Of course the original one's are the best one.

Movie begins slow and seems to be shallow love drama, but somewhere in the middle a surprise awaits you that will justify your patience. It's hard to give even brief summary without spoilers. I strongly advise you not to read reviews nor in any case watch the trailer, because the essence of this psychological drama is in the horror you feel when you finally realize what is actually going on and later in quite predictable, but no less terrible plot twist. Acting and directing are good, and excellent music perfectly contributes to the stressful atmosphere of the movie. Huge recommendation.

8,5/10

Ah, yes, perfect thriller for a rainy afternoon. Events begin in rather predictable, ordinary, mundane fashion: in the very first scene boyfriend receives a Dear John video from girlfriend, she disappears, her whereabouts is a mystery, boyfriend meets new girl, new girl's ex boyfriend - a cop - suspects foul play. What's going on here? At first, go ahead with the snack trips to the refrigerator -- you won't miss much.

But, watch out!

Have you ever watched a blurry, out of focus scene for some time, when suddenly the camera zooms in on a hitherto unnoticed object, the focus becomes razor sharp, and from that moment on everything is changed? Something like this happens here. Once it does, the remainder of the film remains locked on this brand spanking new story and nothing more. Things snap into focus that you hadn't even realized were out of focus. Through the use of unexpected, ironic, playful plot twists and flashback, we suddenly see everything in a new light. So much for trips to the refrigerator.

The use of flashback is particularly fascinating: the viewer witnesses a rerun of the same events, but on second viewing they take on a completely new significance from a different point of view. This is clever stuff. Sure, it's a gimmick, but it works. I suspect Hitchcock would be impressed, and maybe even a little envious.

My point: don't give up on this film, stick it out. If you enjoy thrillers, especially of the mind-variety as opposed to blood and guts, you will not be disappointed. I was literally on the edge of my chair shouting at the TV! We're not talking about a great classic film here, but it is pretty good guilty-pleasure that should keep you riveted through the end.

I have one minor gripe, important to me but probably not to most people: Since classical music has always been a big part of my life, what drew me to the film initially was that the main character is an orchestra conductor. I was disappointed in the music. Familiar themes are bastardized all the time in commercials and other venues that are designed for the general public or for special effects. But this is a story about a conductor, who is working with a real orchestra (Bogotá, Columbia) that is actually playing the music, not "lip synching". Excerpts from a movement of a Beethoven symphony begin true enough, but very soon, alas, the music dissolves into corny clichés that I'm sure would send poor Ludwig spinning in his grave. Unfortunately this same pattern is repeated each time we see and hear the orchestra, with Rachmaninoff, Tchaikovsky, Brahms. Can they not let Beethoven be Beethoven, must he be improved upon? On the other hand, almost making up for this regrettable sin: in the credits, every single member of the Bogotá Orchestra is listed, instrument by instrument. I don't recall seeing this in a film before. Bravo. I'm sure the musicians are appreciative.