LANDFALL

Australia, 2017, 99 minutes, Colour.
Rob Stanfield, Kristen Condon, Vernon Welles, Bailey Stevenson, Andy Bramble, Tony Bonner, Shawn Brack, Anthony Ring.
Directed by Travis Bain.

Landfall in the title is the arrival of a serious cyclone on the coast of north Queensland.

The action of the film takes place over one evening, the arrival of the cyclone and its effect, a young couple in the house delaying in leaving, threatened by three thieves who have robbed the local hospital and are expecting a contact in the house. There are further complications with misunderstandings about the number of the house on the street, the central character going out with one of the thieves and finding an older man with an injury, his son trying to help. There are dramatic turns in the plot with some of these characters being shot.

The young woman in the house is held as hostage by the brains behind the robbery. He is disdainful of the younger member of the group – with the news that another of the thieves has been killed at the hospital as has a policeman. The police arrived to investigate the whereabouts of the thieves leading to clashes, interrogations, reversal of situations…

Ultimately, the film seemed to have come to a happy ending, the couple escaping – but, since the robbery at the hospital concerned radiation, the house explodes as do the characters.

Then, there is a sudden and completely unexpected twist as to who the couple are, the owner of the house and how they have dealt with him, their anti-drug stands and robbing him of his money, as well as some further details of the interaction between the couple, the police and the criminals. It is almost too much to take in with its sudden amount of information.

Writer-director, Travis Bain, comes from north Queensland and cyclones a subject of some of his other features.

1. The title? The setting? North Queensland, night, the coming of the cyclone, the intensity of the wind and rain, people not wanting to be out in it? The house and the beachfront? The waves? The moments for the eye of the cyclone?

2. The action taking place over one evening? The complexities of the plot and characters? And the twist at the end, the amount of information, the changing of perspectives?

3. The introduction to Dylan and Maisie, to leave because of the cyclone, her taking the pills, hesitation, Dylan in the car? The sudden intrusion of the three men? The confrontations? The Beatles’ names? Paul in charge and dominant? Ringo injured and complaining of pain? George? The comments about Paul and his paranoia about undercover police? (And the later revelation of Maisie taking advantage of this, using his mobile phone, indication that he was undercover, but he was not?)

4. The confusion about the address and number? The phoning and texting? George and Dylan going up the street, the encounter with Kevin and his father, the older man and his injury, son looking after him, the offer of hospitality, George and his ignorance even though he was disguised as paramedic, Dylan and his helping with the wound? Writing SOS? The sudden upheaval, the older man being shot, the struggle with Dylan, George shot? Dylan returning?

5. In the house, Maisie as hostage, the cup of tea for Paul and her having to taste it, the drink in the pills for Ringo? Dylan’s return, the pretence that more police were coming?

6. The arrival of Wexler and his assistant, suspicions, the confrontation with Paul? Tying Paul up, the interrogation, the torture, the rape of Wexler’s daughter, Paul’s denials, Dylan and Maisie and the reaction to police brutality? The reversal of roles, Wexler tied up, Paul and his bashing his face? Dylan and Maisie and the attempt to escape, the flat battery? Ringo cutting the throat of the assistant policeman?

7. Wexler and his recovery, the guns, Wexler being shot? Paul being shot? Dylan and Maisie getting the key, Paul’s threats to choke Maisie with his legs? The getting the key to the ambulance and driving away?

8. Ringo, his resentment of Paul, Paul and his warnings about the content, Ringo’s curiosity, the radiation, the explosion?

9. The impact of the sudden twist, revelation of who Dylan and Maisie were, the encounter with Gordo, stealing his money, hiding him in the closet (and his later dying in the explosion)? Their motivation, anti-drugs, taking the money? The revelations about Maisie and the phone, typing Gordo’s response, putting the phone in George’s pocket, confirming that he was undercover?

10. The ending, the couple, on the beach, their plans, smoking the pot…?

COLD WAR

Poland, 2018, 88 minutes, Black and white.
Joanna Kulig, Tomasz Kot, Borys Szyc, Cedric Kahn, Jeanne Balibar.
Directed by Pawel Pawlikowski.

Quite a powerful film, winner of many nominations and awards. It was co-written as well as directed by Pawel Pawlikoski who won an Oscar for his film, Ida, about a young nun discovering her Jewish antecedents and her experience as a child during World War II. This time the war is the Cold War.

The action of the film takes place from 1949-1964. At the opening, it is clear that a very drab-looking Poland (although the film is shot in striking black-and-white) is under Soviet domination. The Cold War between Eastern Europe and Western Europe (and the Iron Curtain) is a 1950s fact of life for the world.

However, the title of the film could be interpreted also as a Cold War within Poland itself, between the artistic rebels who wish to leave the country, who escape from the country and the bureaucratic officials.

Further, the title could describe the love/struggles between the two central characters, Wiktor and.Zula.

The tone is set right from the opening with a range of young men and women singing excerpts from traditional songs, Polish folklore, listened to by two officials who are auditioning for what becomes a touring company of singers and dancers. Wiktor is the principal man who auditions, a pianist, creative. His partner does her job rather objectively – but we see her later exiting from a performance, disillusioned by the forced patriotism.

One of the candidates for audition is a young girl, Zula (actress Julia Kulig persuasively growing from a young woman to a middle-aged woman), Zula. Wiktor is immediately entranced by her, hires her, and begins a relationship with her – while she becomes part of the company, learning how to sing, to dance, work in the ensemble, touring with it for many years.

One of the challenges for the audience is that particular episodes suddenly stop and the screen goes black. When the next scene appears, time has passed without the film-maker visually filling in some of the detail of events in character (but some brief verbal information). The audience has to do some work, understanding the plot details, estimating the effect that they have on the characters.

One of these changes finds Wiktor in Paris, mention of his escape from Poland. He has settled in Paris, a pianist with a group, in 1955 visiting Yugoslavia where the Polish ensemble is performing, meeting Zula once again – she has had knocked the strength or courage to escape with him – and renewing their passion, but the authorities at the concert put him on a train back to Paris.

Then it is a period of Rock around the Clock, even in Paris! Wiktor has been in some relationships, especially with a poet who has written lyrics for a song for Zula herself who has now arrived in Paris – this time an explanation given verbally that she has married an Italian from Sicily and legally left Poland. Wiktor is also writing and performing music for film scores.

Will Wiktor and Zula finally be able to live together, each of them still passionately loving despite other partnerships.

Again, a sudden time-jump, the action moves to 1964, literally cold experiences of the Cold War and, yet again, Zula encountering Wiktor with some unanticipated consequences. And a question can be asked during the final credits, does the Cold War end in defeat or not?

1. The title, the 20th-century Cold War, memories? Eastern and Western Europe? Poland?

2. The period, 1949 to 1964? The impact of the black-and-white photography? Memories of the Polish film industry in these years? A drab Poland, socialist political, harsh buildings? The contrast with music, performance? Paris and music in clubs? The visit to Yugoslavia and the contrast in scenery? Vitality? France and the changes in the mid-1950s? The culmination of the film in Poland, prison, clubs?

3. The range of music throughout the film, folk music, traditional, French style, Gershwin songs, Rock around the Clock, ballads?

4. The episodic nature of the film, scenes ending suddenly, the black screen and audiences having time to pause, the need to fill in details of the plot and characters?

5. The title, the Cold War in Europe after World War II? The Iron Curtain? The dominance of the Soviet Union?

6. The Cold War within Poland itself, citizens, authorities? And the Cold War within the characters of Wiktor and Zula? Ending in death and defeat?

7. The introduction to Wiktor, his associate and the auditions, the searching for songs, the initial range of songs and singers, traditional, centuries-old, folklore? The status in 1949? The holding of the auditions, the girls waiting, conversations and hopes? The introduction to Zula, her conversation with the other girl, singing in harmony with her, the audition, her attracting Wiktor? The other judge and her less interest, Aware of Wiktor’s Fascination? Zulu been chosen, learning to dance, sing, perform?

8. Wiktor, his music, pianist, his work, performances, supervising the auditions? The nationalist flavour of the auditions and songs? His associate being disgusted, walking out of the performance?

9. Zula, her age, the background story, her father being abusive, the attack on her father, time in prison? The seizing opportunities? Singing, dancing, working in the ensemble? The attraction to Wiktor, his attraction to her, the relationship?

10. The suddenness of Wiktor being in Paris, the back story of his work, escape, Zula unwilling to go with him? Life in Paris, the early 50s, L’ Eclipse, playing the piano, the other musicians?

11. The visit to Yugoslavia, Wiktor travelling, Zula and her performance, Kaczmarek and his role with the troupe, supervision, political supervision? Meeting with Wiktor, the offer of the box, the seat in the theatre? The encounter with Zula? The guards in the theatre, his being arrested, put on the train to Paris?

12. The changes in Paris, Cabaret, the clubs? Music style? Rock around the Clock? Zula, coming to Paris, singing and dancing?

13. Wiktor’s life, scoring the music for the horror film? The work with Michel and friendship? The relationship with Juliette, her writing poetry? The lyrics for the song? Zulu not liking them? The metaphor of time and the pendulum? The party, her going to talk to Juliette, her own experience and the arranged marriage with the Italian to leave Poland?

14. Zula, Wiktor, her talking about a relationship with Michel, her disappearance, Wiktor confronting Michel?

15. Wiktor, at the club, the intense piano solo, the other players looking on? Going to the embassy, his hopes, not being a citizen of Poland or France? His needs and patriotism? The request for him to spy?

16. The passing of the years, prison, its effect, Zula coming to the prison? Meeting Kaczmarek, his son, Zula and her Latin American performance? Kissing Wiktor?

17. Going to the ruined chapel, kneeling before the altar, the pills, the declaration of marriage, taking the pills, the sign of the cross, sitting on the bench – and crossing over, into a life after death?

18. The cold ending to their personal Cold War?

FOOD FIGHTER

Australia, 2017, 86 minutes, Colour.
Directed by Dan Goldberg.

This is an entertaining and challenging documentary. It was filmed over two years and, as it ends, the issues are still open-ended, especially for the Australian government.

Ronni Khan was born in South Africa, migrated to Australia. She was a successful businesswoman but was moved by the amount of food waste in Australia and throughout the world. She was described by associates as both fearless and fearsome.

The film offers a great deal of detail about her quest for saving good food, the war against waste, discussions with supermarkets, discussions with Qantas and the waste of food after flights…

With a great deal of support, volunteers, she ranged for food distribution in the capitals of Australia, did campaigns in the United Kingdom with the committee and a food fest supported by Jamie Oliver with the Duchess of Cornwall, Camilla, as patron after her visit to Australia and support of the project. There are also visits to South Africa and memories of fighting against apartheid. There are visits to Thailand although the work there was not ultimately successful.

So, plenty of on-screen time for Ronni Khan, her enthusiasm and persuasiveness, her moments of exasperation. There is plenty of screen time for her associates and their commenting on the work and working with her. There are also intimations of how the food can be used for those in need.

The situations were raised in the federal government, with a food fair and presence of politicians in Parliament house, with promises from the Minister for the Environment, Greg Hunt, and the comments that nothing seemed to have emerged. There seems to have been more success with his successor, Josh Frydenburg.

However, the work and campaigns for Oz Harvest are a work in progress…


From the film’s website:

Ronni Kahn used to be a contributor to Australia’s annual $20 billion food waste bill when she ran a successful corporate events company producing million-dollar dinners. Then she realised the absurdity of throwing away perfectly edible food, trading capitalism for social activism by founding Oz Harvest, a food rescue charity, in 2004. Filmed over two years and across four continents, ‘Food Fighter’ follows Ronni’s crusade against the global food waste scandal.


From Documentary Australia website: Synopsis

LOGLINE:

Oz Harvest CEO Ronni Kahn has enough passion and drive to move mountains – but can she reduce the cost of food waste to the Australian economy of $20 billion each year? Filmed over two years and on four continents, ‘Food Fighter’ is the inspirational story of one woman’s crusade to save perfectly edible food.

FULL SYNOPSIS:

Ronni Kahn used to be a contributor to Australia’s annual $20 billion food waste bill when she ran a successful corporate events company producing million dollar dinners. Then she realised the absurdity of throwing away perfectly edible food and decided to prioritise social activism over profit by founding Oz Harvest.

Now, she’s taking on politicians and big business to expose an inconvenient truth: that four million tonnes of edible food is discarded in Australia every year while up to two million Aussies suffer from food insecurity. And to add insult to injury, this food waste ends up in landfill, harming the environment by creating greenhouse gas emissions.

Filmed over two years and across four continents, ‘Food Fighter’ follows Ronni’s crusade as she partners with the United Nations, rubs shoulders with royalty and Jamie Oliver’s juggernaut, rifles through dumpster bins and holds government to account. From the recent death of her daughter-in law to the very recent birth of her first grandchild, Ronni’s personal rollercoaster runs parallel to her meteoric rise as the face of food waste.

Conceding she lacked the “courage� to stay and fight the Apartheid regime in her mother country, ‘Food Fighter’ also follows Ronni’s road to redemption, an inspirational woman bidding to make peace with her past. In the end, it reveals what sort of individual it takes to effect such profound change globally.

 

 

 

 

SHERLOCK: THE LYING DETECTIVE

UK, 2017, 89 minutes, Colour.
Benedict Cumberbatch, Martin Freeman, Toby Jones, Mark Gatiss, Rupert Graves, Una Stubbs, Louise Brearley, Amanda Abbington, Lindsay Duncan, Sian Brooke.
Directed by Nick Hurran.

This is the second film in the final series of Sherlock with Benedict Cumberbatch as Sherlock Holmes and Martin Freeman as John Watson. The several series had been extremely popular over many years, Sherlock in a modern situation, confrontations with Moriarty, adaptation of Conan Doyle's characteristics of Sherlock presented in a 21st-century situation.

With Moriarty dead, this film provides a new villain, Toby Jones has a smarmy self-promoter, television advertiser, Culverton Smith. In fact, he is a serial killer but prefers his victims to be anonymous – but then wants to enhance his reputation and become famous. A clear set-up for conflict between Holmes and Smith.

However, the narrative of this film continues the aftermath of the death of John Watson's wife, Mary (Amanda Abbington) who makes considerable appearances in this film as a ghost, part of her husband’s consciousness as well as conscience. Mycroft Holmes (Mark Gatiss) is also concerned and there is a reappearance of Lindsay Duncan as Lady Smallwood.

There are complications with Culverton Smith's daughter, a psychologist treating Dr Watson, some impersonations – and the revelation that there is a third Holmes sibling, preparation for the third film and the end of the series.

1. The continuation of the previous film? The focus on Mary Watson? Her death and the consequences?

2. The London settings, the world of advertising, television, business offices? Baker Street? Homes? The musical score?

3. The title, with reference to Sherlock? Benedict Cumberbatch and his style, manner, web speech? The autistic suggestions and the visual-verbal attention to clues? The drugs? His reactions? At home, with Mrs Hudson, missing John Watson? His blame over Mary's death? Culverton Smith, the article about the two? His reactions?

4. Dr Watson, the psychological effect of Mary's death, going to the psychologist for talks, Mary continually appearing to him, talking to him, urging him on? His baby in care? His refusing to talk to Sherlock? Mycroft contacting him? The situation, his being asked to help?

5. Sherlock and John, the interactions, one saving the other?

6. Sherlock and the meeting with Smith's daughter, the discussions,?

7. Culverton Smith, Toby Jones and his style, the meeting, his daughter present, giving everyone the drugs, his need to confess, 'Anyone' as his murder target? Sherlock working out the one syllable victim? The puzzles, his role as a serial killer, at first anonymous, his thrills, his reputation, boasting, television advertisements?

8. The variety of clues? Mycroft and his concern? The interactions with Lady Smallwood and the previous interrogation? Mrs Hudson and her concern?

9. The buildup, the revelation about the real daughter?

10. The confrontation with Smith's, the threats, death?

11. Everything seemingly back to normal? Then the revelation about Sherlock and Mycroft and their hidden sister? Her disguising presence as Smith's daughter?

12. The preparation for the finale?

 

 

 

 

BOAR

Australia, 2017, 96 minutes, Colour.
Nathan Jones, Bill Moseley, Christy-Lee Britten, John Jarrett, Steve Bisley, Roger Ward, Madeline Kennedy, Chris Haywood, Ernie Dingo, Simone Buchanan, Chris Bridgewater, Hugh Sheridan.
Directed by Chris Sun.

An Australian exploitation film harking back to similar films of the 1970s and 1980s, specifically Russell Mulcahy's film of the outback, Razorback.

For those seeking action, especially with the gore and destruction wrought by a giant-sized boar, a large selection of victims, a sense of menace and fear, there is enough to occupy them for an hour and a half.

On the other hand, those wanting something more, especially in the outback setting, especially with memories of the Wolf Creek films and television series, especially with the presence of John Jarrett, the storyline is rather thin and the dialogue is exceedingly banal, crude, and, while there are some psychological themes, they are played out rather thinly.

On the one hand, there are the old codgers, played by John Jarrett, Roger Ward, Steve Bisley and Chris Haywood having an opportunity to spin yarns in the pub. On the other hand, there is Ella who runs the pub, John Jarrett's daughter, a bright spot in terms of characters, finally desperate to find her father who has not returned as promised and ventures out to find him and confront the boar.

There is also a subplot concerning a family who returned to the town in order to see a relative, a giant of a man played by Nathan Jones, who have the opportunity to confront the boar. There is the mother and her second husband who has helped bring up their daughter and son, the daughter romantically involved with her potential fiance. This group finishes up bearing the brunt of the confrontations with the boar, the pursuit, the fiance being a coward, sudden deaths.

There are also some campers in the outback, discovered by the old men, two killed by the boar, two running in fear.

The film was directed by Chris Sun. He also wrote the screenplay which would have benefited by further revisions. An exercise in Australian schlock-horror.

 

 

 

 

 

GOING FOR GOLD

Australia, 2018, 93 minutes, Colour.
Kelli Berglund. Emily Morris, Terry Rogers, Ruth Natalie Fallon, Jo Stone, Elysia Markou, Daisy Anderson, Jess Kuss, Boone Sterck, Henry Turczynowicz.
Directed by Clay Glen.

This is the third film by writer-director Clay Glen on girls' gymnastics and cheerleading, A Second Chance, Raising the Bar. The films have not received encouraging reviews.

Kirsten Dunst starred in the cheerleading film, Bring it On, in the early 2000s and there was a series of sequels and some imitations. This is an Australian version.

An American girl, Emma, played by Kelli Berglund, comes to Adelaide, befriends Hannah, her neighbour, is interested in gymnastics, offers to coach in cheerleading when the gymnastic competition fails, recruits some girls, recruits some young men from the football codes. There is also a rival group, some of them specialise in cattiness.

The variation on the theme is that the team incorporate moves from rugby, Australian Rules, gymnastics, combine them in a successful routine.

The American girl stays in Australia. Romances is in the air. And the main girls from the rival team admire the winners and join them.

1. The popularity of the cheerleading films, the American series Bring it On? An Australian version? Derivative? Enjoyable?

2. The target audience, young audience, female, all ages, males? The Australian style?

3. The city of Adelaide, the views, scenery, ordinariness, homes, schools, sports fields, rehearsals, competitions?

4. The range of the musical score, especially for the gymnastics and the cheerleading performances?

5. The film from Emma's point of view, San Diego, the mother's death, her father and the air force, moving around, the voice-over and comments, going to Australia, going to Adelaide, the house, the meeting with Susan and Hannah?

6. Emma, making friends, the encounter with Ethan, football? Going to the gym? Gymnastics, the competition, the exclusion and failure?

7. Emma and cheerleading, information about Australian competitions, rivals?

8. Emma, her father, the decision to return home, Emma upset?

9. The rivals, Abi and her group, Charlotte and her skills, the group, reaction to Hannah and Emma?

10. Recruiting the girls, the gymnasts? Recruiting the boys, Rugby, Australian rules? The coach?

11. The preparation for competition, rehearsals, routines, difficulties? The coach and her place? The two boys, Hannah and her attachment, Emma and her kiss and the revelation that she was being coached?

12. The range of moves, from gymnastics, the football codes, the combination for routines? Rehearsals and falls?

13. The performance, success? Abi sneering? Charlotte and her admiration? The girls abandoning Abi – and forming a combined group with Emma and Hannah?

 

HIDE AND SEEK/ AMOROUS

UK, 2014, 82 minutes, Colour.
Josh O’ Connor, Hannah Arterton, Rea Mole, Daniel Metz, Joe Banks.
Directed by Joanna Coates.

This drama was designed as arty and experimental. It focuses on four 20-somethings, two men, two women, who agree to live together in a country house, allowing for individual freedoms but also some structures for the practical living, especially cooking.

The four quickly overcome any inhibitions, seem to get on well together, establishing two couples who remain together throughout the film. On the whole, they have nothing to do, just live in a kind of utopia. In the evenings they play particular games, painting, charades, mini-dramas, imitations of TV panel games and interviews.

Suddenly, boyfriend of one of the women turns up, wants to talk to his girlfriend, joins in the meals, is bewildered by the games played in the nightly routine, wants to get out.

At one stage, the four reminisce about the past and declare that if they were to stay in this utopia, it would eventually be Paradise.

While the tone is somewhat lyrical, the more pragmatic members of the audience will be wondering where they have their income, do they go out to do their shopping, how will they sustain themselves in the future, will they be employed in any way?

This does not seem to bother the four and the film ends before any such questions are asked – although the final charade, the acting of a very serious and date and proposal by one couple takes in the other couple as well as the audience. But, it is only a joke in the nightly routine…

Josh O’ Connor appeared in as the lead in God’s Own Country. Hannah Arterton is the younger sister of actress, Gemma Arterton. Daniel Metz co-produced and co-wrote the film.

Utopian dreams.

GIMME THE LOOT

US, 2012, 79 minutes, Colour.
Tashiana Washington, Ty Hickson, Zoe Lescaze.
Directed by Adam Leon.

This is a brief film, the kind of small-budget, somewhat experimental kind of film-making that appeals to the specialist American audience. It may have a certain fascination for overseas audiences.

The setting is New York City, vividly portrayed, the details of the streets, apartments, shops, overpasses… The central characters are a young man and a young woman who are seen at the opening of the film shoplifting from a supermarket and escaping with their loot. On the one hand, they seem to have an attitude in life that the world owes them a living. On the other hand, they have a certain code, despite the regular four-vocabulary, concerning personal relationships and respect. The two are friends, not romantically involved.

The film is strong on dialogue, especially for the two central characters, incessant repartee… There are some other characters, relations, thieving kids in the street, drug dealers, street artists. The central characters are also expert at spraying war graffiti but they are upstaged by rival group and spend the film planning the comeuppance.

The drug dealer does get involved with a young white woman – and later intends to steal from her but, when she confronts them after sunbathing in a water tower above the apartments, they back off.

What remains for the audience is a glimpse of this kind of lifestyle in New York City, the portrait of the two young people, a certain intrigue in listening to them and their conversation.

THE MYSTERY THE 13th GUEST

US, 1943, 60 minutes, Black and white.
Dick Purcell, Helen Parrish, Tim Ryan, Frank Faylen, Johnny Duncan, John Dawson, Addison Richards.
Directed by William Beaudine.

With an intriguing title, suspicions on the number 13, this is a routine supporting feature from the 1940s. It was directed by William Beaudine whose directing credits number 372, beginning with shorts in 1915, through a decade of the silent era, multiple films during the 1930s and 40s, into television episodes and a final film, 60 years later, a martial arts feature.

The film is reminiscent of those Old Dark House films where somebody reads a will and the subsequent murders. The focus of attention is on a young girl to whom the old man is fortunate is left but she is not to open the will until her 21st birthday. Intriguingly, on the day she comes to the abandoned house – and is soon murdered!

A journalist and the police start to investigate the case, with a request that the guests from the original dinner come to the house and sit in their old places. There is a certain apprehension! Then there are some murders, especially the family lawyer. The film shows the variety of suspects, a snooty elderly couple, a rather glamorous young woman, the murdered woman’s brother and cousin.

Yes, there is a twist, the initial murdered woman was an imposter, set up to get the will and the information about the money. The young woman’s younger brother is very earnest – but it is the cousin who is revealed as a rogue, in collaboration with the lawyer, hiring the substitute to get the copy of the will.

The usual investigations, interrogations of the suspects, gathering them altogether and the revelation – and the usual repartee between journalists and police and the usual deadpan humour of the detective who is not always on the ball.

LUZ

Germany, 2018, 70 minutes, Colour.
Johannes Benecke, Jan Bluthardt, Lilli Lorenz, Julia Riedler, Nadja'Stubiger, Luana Velis
Directed by Tilman Singer.

This is a film, the work of a young German director. It has won a number of awards nominations at horror film festivals around the world – and that would seem to be its destination, definitely for aficionados of complex horror. Interest in demonic spirits would not go astray!

It might be useful to have read the IMDb synopsis before seen the film – but it is certainly a definite help after viewing the film.

“A rainy night. Dazed and numb, Luz, a young cabdriver, drags herself into the brightly lit entrance of a run-down police station. In a nightspot, Nora seductively engages police psychiatrist Dr. Rossini in a conversation. She tells the Doctor about her old schoolmate Luz' rebellious past at a Chilean school for girls. Nora is possessed by a demonic entity, longing for the woman it loves - Luz. Increasingly drunk on both alcohol and Nora's story, Rossini turns into easy prey. When called to the police station, the now demonically revived doctor puts Luz in a state of hypnosis, supervised by his colleagues, commissioner Bertillon and her translator Olarte. Luz recalls the events predating her arrival at the police station. But the entity that has taken control of the doctor wants something more. Bit by bit it slips into Luz' reenactment and makes old memories come to light.�

Is the stuff of nightmares – and it is difficult to identify at times whose nightmare it is whether Luz, whether Nora, the psychiatrists, the technical assistant who taped the encounters. Or, is it simply a nightmare created by the writer-director!