First of all, and as notice to those who have to venture in ‘The Pit’, it is fair to say that neither the opera prima of the basque Galder Gaztelu-Urrutia has come to revolutionize the national cinema, nor will it tell us something that transpires an originality never seen before until now. Maybe, by the way shows his cards (without any kind of flush) from the moment that we discover what is that space (the pit of the title) that has gone to stop the character Goreng, it is as easy as debatable as to enter fully into the game proposed by the film.
Easy, because even doing the umpteenth speech about the social stratification, the director is clearly aware of that that the protagonist, played by Ivan Massaguéyou will become the spectator, unmoved by the horror before him, he unfolds to find out what is the true nature of ‘The pit’. Once you’ve taken that can’t fight alone against the system, he will end up rebelling as a sort of hero, as if on their shoulders to weigh a slab invisible where they accumulate the boredom and the helplessness of the impassibility of the above.
These are not others than the rest of the companions who are in the pit, the mastodónico building divided into dozens of levels, and which serves, in a dystopian future, which space where to meet with the times that dictate the bureaucratic processes as if from a conviction in a high-security prison they were. Two people per level and a platform that will lower, in a timely manner each day, with the most exquisite delicacies from the first floor. Leftovers of the above will be converted in the menu below. And so on, until disappear in the distance that is drawn from the floor two hundred.
With such an approach, and presented already the structure of the plot, presented in an almost theatrical and where we will go knowing the most primary impulses of the human beingwill be using the dialogue established with the companions of space Goreng (always, two people per level), that that premise that speaks to us of the law of the strongest, and the spirit of survival, prevail above all morality and ethical issues.
All very “obvious” as well highlighted Trimagasi (Zorion Eguileor), the first and perturbed companion of the protagonist that will which Charon for Virgil in this descent into the hell of the human condition that represents the Hole. However, and despite being absolutely effective when making an emphasis in his speech, the film acquires a sense of the pure spectacle of the horror of the embrace completely its most visceral.
It is here where the similarities with other proposals in the fantasy film take on greater relevance, because this sort of hybrid between the ‘Cube’ of Vincenzo Natali and the ‘Snowpiercer (Rompenieves)’ from Bong Joon-ho, acquires its own entity despite the fact that in his background we find ourselves with elements of social comment and satire to the human condition. In the first example, take the interior as a space of confinement to escape. Second, the obvious message that serves as a scourge to the moral, accompanied by a whole series of pinching pinching is to a gore’s own torture porn, and a litany of dialogues that constantly come to put into question the very nature of that space infernal, whose representation minimalist dota the whole of that aura of theatricality that characterizes him.
Let us celebrate that there is
Here is where comes in the role of Antonia San Juan, who seems to be reborn from its own ashes television to sink into this nightmare, where the food presented which delicatessen (as read the title of the cult film by Jean-Pierre Jeunet where the most important thing for everyone will be getting food) for gourmets in its first floor, will be mutating in rubbish and debris as the dirt of humanity the becomes dirty.
Written by David Desola and Pedro Riverowe find ourselves not only with a perfect excuse to return to celebrate the state of the film genre national, but with a more than interesting proposal that comes to us from the basque country, where a couple of years ago dared with the pure fantastique B-series thanks to the ‘Errementari (the blacksmith and The devil)’ and now what they do with the unclassifiable ‘Advantages of travel by train’, also basque. Having conquered the public of both side of Atlantic, ‘The Hole’ was the winner of the Audience Award at the sessions Midnight of the Festival of Toronto, to then rise up as the winner of the last Sitgeswhere did the title for Best Movie (from 2007, with ‘[REC]’a Spanish film did not win this award), Best Special Effects, Best New director and, also, the Prize of the Public.
Be that as it may, despite the obviousness that it wants to tell and may not be all of the novel and a title that might as well be, the film Gaztelu-Urrutia makes it clear that when we want to risk with the film of gender and derivatives, we do so without concessions to the gallery. Because hopefully each year we had more bold proposals like this, and less comedies Spanish of the year produced by the tv shift.
The best: The way in which, since its introduction, we plunged in the reinforced concrete building and the first glimpses of the violence that comes to tell us.
The worst: Too many worries on your end by leaving a clear message.