El niño de la luna

Firstly I'd advise anyone considering watching this title to see "In a glass cage" first...A darker film with difficult subject matter but it gives you a sense of where the directors interests,themes and talents lye.In short...a wonderful eye for composition, a very loose free association with respect to characters motivations and their interactions with each other(in both films its as much the inner fantasy or "true" personal vision of each protagonist that drives forward the plot) and a dark undercurrent of secret societies and cults(very much of the 30s 40s) seemingly able to turn the world and the immediate society they present into a dark twilight where danger and perversion seem ever present.Be clear though ... neither film is sensational or lurid...there is a moral compass at work here and thankfully so.In many ways there's much of the dark fairytale here but how many directors take such material and play it by the numbers until the poetic vision is lost...Villaronga does not...Finally if you like this you might consider "Born of fire" by Dehlavi and "Revenge" by Shinarbaev.

This is not what it sounds like. It is approximately a kids' mystical adventure movie, on the order of The Black Stallion, except for a nude sex scene, followed by what looks like a surgical procedure that I didn't understand. In structure this is a suspense movie, but the suspense is limited to escape and pursuit; the mystical or metaphysical element--the child's visions, the scientific-occult conspiracy to which he is delivered, and so forth--which one would expect to be churned into melodrama, as the same situation was in The Fury, is presented matter-of-factly, rather as magic realism.

Alastair Crowley's novel of the same title has a different plot, but may still have inspired the movie, because it also involves a scheme by an occult group to generate a child with magical powers, and the film has about it an air of the 20s, as perhaps of Rex Ingram (one of whose films concerned a fictional Crowley).

The story has flaws: e.g. it forgets that the main characters have "wild talents," and so their escape and pursuit is a matter of mundane running and hiding; for someone in the clutches of an authoritarian group with a recruited cadre of psychics, the child is able to sneak in and out very easily; characters' affections and determinations change without warning--all of which suit the kids' movie this (almost) is.

Beautifully shot film with one of the greatest soundtracks of the last ten years, composed by the mysterious Dead Can Dance. It's a pity they explicitly decided never to publish the soundtrack on CD. Also Lisa Gerrard from Dead Can Dance plays one of the main roles in the movie.

This is a magical story of an orphan confined in a claustrophobic, orwellian institution, somewhere in post-WWII Europe (it's never specified where). There they keep children from all over the world that show some form of telepathic skill to experiment with those powers. Our main character starts to discover, somehow, that he has a mission, that he's the carrier of a strange message…

Surrealistic, strange, "lynchian" at times, the movie flows at ease and keeps you on your toes from beginning to end. Stylish cinematography by Jaime Peracaula, solid screenplay and direction by the enigmatic Villaronga, and -once again- a soundtrack that would charm any fan of Dead Can Dance.

Highly recommendable if you have a chance to see it, specially since it was never published to video and there are no plans to ever release it in such format.

One of the strangest movies ever made in Spain.

Fantastic movie, in all meanings of the term, where a child with occult powers is compelled to accomplish a mission which will bring him to the heart of Africa. This movie has many strengths, in particular the beauty of its cinematography with beautiful shots, which come back to your mind long after you've seen the film, very good acting from child actor E. Saldana, and a smart plot where rational explanations can be found to supernatural developments (a bit as H. James' Turn of the screw).

The protagonist of Augustin Villaronga's 1989 film EL NIÑO DE LA LUNA (Moonchild) is David (Enrique Saldana), a little orphan with, we're told, mysterious powers usually manifested as telekinesis. One day, David is adopted from the orphanage by the stern Ms. Victoria (Maribel Martin), only to find that his new home is a research facility where children like him are studied in an attempt to create some kind of supermen. Hearing that the uncivilized blacks of Africa have a prophecy about a white "child of the moon", the little misfit escapes, taking with him two other research specimens, Edgar (David Sust) and Georgina (Lisa Gerrard, best known as one half of Dead Can Dance).

This film has been unavailable for many years and is mainly forgotten. I imagine that most people searching for it are fans of Dead Can Dance wanting to see Lisa Gerrard's only acting credit and hear DCD's film score. Both are disappointments. Gerrard has no especial acting talent and she only succeeds in serving the story here because her character is written as borderline-retarded. Her dialogue is dubbed into Spanish too. For the most part, Dead Can Dance's soundtrack is generic synthesizer tones, and only at a brief few seconds do we hear material similar to that of their album of the same year THE SERPENT'S EGG.

The first half of EL NIÑO DE LA LUNA is basically shots of David in anguish alternating with foreboding images of the moon. The encounter of David with the black tribe is about as fair a depiction of Sub-Saharan Africa as Tintin in the Congo. This is a bad film, and one that provokes bafflement. We find a godawful script tied to lavish production values (especially set design and costumes). Who put up the money for this? And once it was inexplicably committed to film, who picked this as Spain's official entry for the Cannes Film Festival of that year? These are questions.