Putting the blackened, flash-frozen heart of Chile’s undead past into a blender, blitzing it to a lumpen pulp and guzzling down the result with grimly comic relish, Pablo Larraín, after his H…
Putting the blackened, flash-frozen heart of Chile’s undead past into a blender, blitzing it to a lumpen pulp and guzzling down the result with grimly comic relish, Pablo Larraín, after his Hollywood forays with “Spencer” and “Jackie,” returns to his home turf and finds it bleeding out from a mysterious two-hole puncture on its neck.
But not before the dashing young vampire had been awoken to his true nature. An early scene of extravagantly graphic violence, as a supernaturally strong Pinoche batters a young woman’s head to gory rubble, is as hard to watch as it is vital to see: a reminder that for all the movie’s arch ironies and its distanced, disdainful tone, its subject was a thug and a murderer, and his victims were made of flesh and bone.
All of this backstory is relayed to us in the plummy British accent of an enormously unreliable narrator, the reveal of whose identity is a mordantly delicious, absurdist twist that works even if you’ve already guessed it from some of her more distinctive phrases. But the real story hasn’t even started yet.
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