El cuerpo

I thought the Spanish movie "La cara oculta - The Hidden Face" was the best mystery/thriller I had seen ever. But here comes - El cuerpo - The Body. Mystery and Thrill - from start to finish. Not much to comment on the plot. A body from the morgue goes missing and a detective is onto it . That is the story. Plenty of undetectable twists .The mother of all twists is the last scene. That hits one after another and on the face. Enjoyed this thoroughly. Very good background music score. Very good photography and cinematography. Very good screen play. A buffet of treat.Thanks to you guys "Oriol Paulo and Lara Sendim" - Muchas gracias ! My rating is 9/10.

THE BODY (EL CUERPO) is one of those thrillers that grips you at the beginning and never lets go till the very end. The plot is straightforward: Álex Ulloa (Hugo Silva) has suffered a sudden bereavement, as his wife Mayka (Belén Rueda) has died of a heart attack. The corpse has been taken to the morgue without a postmortem, but has mysteriously disappeared. The morgue security- guard Torres (Miquel Gelabert) has been scared out of his wits - so much so that he runs out of the building and is knocked down by a car. Inspector Jaime Peña (José Coronado) investigates the crime, but finds the task difficult as he is still plagued by the memory of his wife's death a decade earlier in a hit-and-run accident. Sometimes his emotions get the better of him.

Set largely in and around the morgue, Oriol Paulo's film is a masterpiece of modern film noir, complete with dark shadows, long tracking shots down corridors, and point-of-view shots where we share the protagonists' uncertainties about what is going on. To complicate the plot still further, he introduces flashbacks into the past lives of Jamie and Álex, to show how the past exerts an almost paralyzing influence over the present.

The action takes place one dark night, where the rain pours down outside, confining all the characters to the claustrophobic space of the morgue. Within that space, Jaime apparently tries his best to tease out the truth of the crime, but Álex keeps resisting him. On the other hand, Álex tries to communicate with his girlfriend Carla (Aura Garrido), in an attempt to elope with her, but finds his endeavors continually frustrated by circumstances. Neither he nor Jaime can apparently obtain what they want. In this disordered environment, the logic of cause and effect has been deliberately disrupted.

As the action unfolds, so director Paulo further complicates the action by introducing sequence that represent projections of the protagonists' imagination; in other words, putting their assumptions on screen. This further complicates our comprehension of the plot; we have no idea how to separate 'truth' from 'fiction'. This confusion makes the dénouement all the more shocking.

Brilliantly performed, with Coronado giving a quite outstanding performance as the guilt-ridden inspector, THE BODY deserves to be considered a modern classic.

This is how you have to do a movie like this. It's a ride from beginning to end and it will keep you guessing throughout. Maybe you'll get things right and see the signs, maybe you're just enjoying things unraveling as the movie flows by. Whatever the case, you can be more than entertained with this little gem.

The acting is top notch and the script is really clever (I try to use this term as lightly as possible) and there is a touch of coolness to the characters, that is not forced upon them. The story might seem bigger at the beginning that it finally turns out to be, and there might be people disappointed with the ending. Take a chance though ... or wait for the inevitable US remake ...

El Cuerpo (2012)

A twisty, clever, Spanish production that is edgy and sharp in its filming and conception. There is a corpse, and then there isn't—so who is doing what to whom in a kind of purposely convoluted whodunnit (and who didn't)? It works on a surface level and will suck you in and drag you along. For me, time after time, I was wishing it wasn't just a twist of some plot-writer's handbook at work.

The best parts of the film are really good—a solid cast, murky scenes (many of them in a morgue), hints of what happened that lead you astray, and even the "unreliable narrator" trick, which means you trust the lead character until you gradually realize you shouldn't have.

The constant shifting in the plot will thrill a lot of viewers. It's endlessly putting you on edge. But this ended up also undermining how to watch the film. It seemed that you were pushed outside of it and had to wait for the next turn of perspective. When that happens, it makes sense, basically, but it undermines what happened before. If the film was told truly from one person's perspective, the way (for example) James Stewart drives the narrative in the twisty "Vertigo," you'd excuse all the misunderstandings. But in this one the narration is omniscient, and playing games.

The other key thing that brought it down was a choice by the director to tell us everything instead of have it happen and let the audience experience it. You'll pick this up in the beginning when the main older doctor is led through the crime scene, and one clue after another is announced by some person coming in the room or wandering by. So we get the information, but in a form that is doesn't involve you as viscerally.

You'll see. It's all effective and contrived at the same time.

This Spanish Mystery/thriller/Noir film from Oriol Paulo and starring Belen Rueda(Julia's eyes, the Orphanage) had me on the edge of my seat until the very end. What's starts out as a mystery concerning the disappearance of a corpse from the morgue soon turns into a game of cat and mouse as nothing is what it seems and not even the dead can be trusted. Pure dread oozes through the entire film and by the end you are left with the hairs on the back of your neck standing on end and your blood running COLD.