‘Skins’ Review | Berlin 2017

Movies often remind us that physical beauty and ugliness are only superficial, but the Spanish debut Eduardo Casanova Skin make perspective in a different and interesting way. Incorporating bright, matching colors of early Almodovar With love beyond measure by John Waters, this series of interwoven stories about physically dissimilar people searching for their place in the world, has virtue – especially rare in Western cinema. Spain – is to introduce viewers to a new, different world. Although it lacks depth and is sometimes slick, the film is convincing and thought-provoking in the long run. On this evidence, the 25-year-old TV actor Casanovas found a potentially powerful theme for future works with more nuances and nuances.

Skin Produced by Alex de la Iglesiawhose Bar also played in Berlin, and it uses a lot of de la Iglesia’s favorite actor. It starts opening its dark exotic store early on, when Simon (Antonio Duran) learns over the phone that his wife has just given birth. He wept out of shame when a naked elderly woman showed him pictures of young girls with whom Simon suggested sex. In the end he chooses one person, the person we will meet next in life is Laura (Macarena Gomez), is obviously beautiful except that she has no eyes. Now that she is a prostitute, her clients are empowered by the fact that Laura cannot see them.

Key point

Looks clear, but only deep skin.

Even less fortunate in her looks is Samantha (Ana Polvorosawho previously worked with Casanova on his short, Eat My Shitand it is hoped that it will not be stereotyped by this particular role). The unfortunate Samantha was born with a reverse digestive system – her anus and mouth were swapped. Brave, she decides to step out of the chalet where she lives with her father and seek social acceptance, with soul-breaking results. In a cafe, she was cruelly laughed at by overweight people Strange (Strange Castro), was later revealed to be one of Laura’s sexually unsafe clients.

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Other characters include Ana (Candela Pena), who has a large tumor on her face and is having an affair with a burn victim. Guille (Jon Kortajarena), although Ana is loved by Ernesto (Secun de la Rosa); Christian harms himself (Eloi Costa), who dreams of not having legs so she can become a mermaid; and little people Venice (Ana Maria Ayala), who despises her job dressing up as a popular children’s TV personality. Meanwhile, Christian Claudia’s monster mother (Carmen machi) was tested emotionally rather than physically, in addition to her being shocked sportswear.

This is a lot of characters, plot and ideas to deal with, but Skin It’s just about making it tie together by placing it in a separate but connected world to us – a surreal and highly stylized world, full of colorful pastel interiors with lots of pink predominating. So, it must be like a gift for a production designer Idoia Esteban.

Obviously, the point of the film – which is to ask the viewer to reframe their perception of the meaning of beauty – thus broadens the image. Beauty. That kitsch effect is both raw and effective, enhanced by an overuse of pompous corny stuff’60s and ‘70’s pop songs as a running commentary. (The cliché use Bizet’s Carmen less efficient).

All in all, the script, backed up by some genuinely committed performances and physically challenging from a range of actors of varying experience and abilities, is ambitious and at times exhilarating. Try to imagine what life could really be like for these unfortunate people. There are some wonderfully ironic moments that make cliche of soap opera on their heads, as when the heavily disfigured Ana strongly tells Ernesto that he only loves her for her looks.

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With the sometimes sad images on the screen, Skin really light of feeling, though sometimes not as funny as one might think – the funny gag when Ana blew out her birthday candles with a farting sound is best left to the imagination viewer’s image. Skin finally saved its most offending footage. The penultimate image, which some people will find offensive and others hilarious, and everything in the film has been built, raises all sorts of interesting questions about whether to frame close-ups. or not. Finally, it can be a brief expression of what a happy ending really is.

Production company: Pokeepsie Film, Nadie es Perfecto
Actor: Ana PolvorosaCandela Pena, Carmen machi, Macarena Gomez, Secun de la Rosa
Director and screenwriter: Eduardo Casanova
Producer: Carolina Bang, Kiko Martinez, Alex de la Iglesia
Director of Photography: Jose Antonio Munoz Molina
Production design: Idoia Esteban
Costume designer: Carolina Galiana
Music: Angel Ramos
Editor: Juanfer Andres
Casting: Pilar Moya
Venue: Berlin Film Festival (Panorama)
Sales: Pokeepsie Film

77 minutes

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