Tesis

This suspenseful movie concerns about Angela(Ana Torrent), she's an university student at a journalism university in Madrid. She comes across a snuff movie that shows a girl being tortured and killed. She befriends Chema(Fele Martinez), a young completely obsessed with violent films. They find out that the girl was an university at their school and her former fiancé named Bosco(Eduardo Noriega) holds a camera similar to the snuff's shooting. They early discover the killing was actually filmed on campus.

The motion picture displays genuine chills, suspense, mystery and dark atmosphere with a shocker finale . Packs excellent creation of tension, thriller, terror , emotions and brief gore. It's an exciting, bizarre film; skillfully proceeded by Alejandro Amenabar and turns out to one of the most unusual Spaniard horror movie ever made and certainly one of the most unsettling. Plenty of shocks, the eerie images deliver the exciting united a creepy score by Amenabar, also screenwriter, along with Mateo Gil, of the thrilling plot. Intelligent edition, special use of murky sets and slick utilization of shock images make this one, a magnificent terror film. Gloomy and sombre cinematography by Hans Burman which heightens the suspense. The picture is well directed by Amenabar in his first movie. After he achieved various hits, such as : 'Open your ears, The others and Mar adentro' . Rating : Better than average.

First effort by now affirmed Spanish director Amenebar, Tesis starts brilliantly (with a magnificent mix of music and images) and it develops perhaps too slowly and with a unsatisfying ending - at least for a mystery lover - butt it is for a rest a perfect machine explaining how a movie works, how it captures the attention of the viewers. Its aim and final analisys of the movie event and how violence is the basis of today's society could be debatable, but Amenebar has a gift to take good script and turn them in masterpieces.

Why is death and violence so fascinating? Is it morally correct to show violence in movies? If so, is there a limit to what we should show? That is the subject of Ángela's examination paper.

As a film made by a film student about film students, much of "Tesis" is metafilmic and comments on the Spanish film industry, Hollywood influence and the voyeuristic nature of the horror and snuff genres. Following the aesthetic of the American horror genre, Angela operates as the "Final Girl," or resourceful female protagonist that defies stereotypical feminine traits.

This is every bit as gritty as a Hollywood horror film or thriller, and it is something of a surprise that it seems to be largely unknown. Even though it is foreign, die-hard horror fans should have latched on to it. And these days, it is a bit of a shock no one tried to remake it.

A promising director: it's what I thought after the screening of Amenabar's first feature. There is a compelling story told with bright creative ideas.

Eventually I felt the first part of the movie was really great and the following went a little under. Sure, it is more difficult to bring all sorts of things together after you built up an exciting suspense. Still you don't feel bored once you are getting to know what it is really all about, but you got more free 'RAM space' to think it over. Perhaps accelerating the rhythm would have kept Tesis on the same high level of suspense. Perhaps it would have been a mistake to change the pace.

Among things you can take away with you is the background theme about our attraction for the morbid. It opens and closes the movie and really gives it one further dimension - one could say it's a bit didactical but it's a least flaw for a first major effort.

Next step Senor Amenabar: a little less personal work (as compared with the experimental Abre los ojos) but still something personal (The Others is the least interesting work so far).

Tesis is one of the finest Spanish films of the last 10 years. God help us if Tom Cruise remakes this first Amenabar gem as he has Abre los ojos> Vanilla Sky coming soon, blech! Using the iconic gaze of Ana Torrent--see her at 6 in Spirit of the Beehive or at 10 in Cria!-- Amenabar makes an obvious but still gripping statement about modern society's facination with violence in the media. Using phenomenal tracking shots, cross-referenced pov and suspenseful tension to maximum effect, he and his cast convert what could have been a hack DePalma style Hitchcock ripoff into art. An awareness of contemporary Spain certainly helps, as much that we Americans consider passe was fairly new over there at the time (not in 2001, alas.) Fele Martinez at his best, too.