TonHe is a Catalan neo-noir film by director Ventura Durall. It has a certain literary level: it is surrounded by Hitchcock shadows, and it has an impact on identity, desire, and time. The problem is fascinating. Unfortunately, Dural did not find the visual effects that his hot and complicated story should have, which made the TV atmosphere of “Sacrifice” dull and somewhat unsatisfactory.
Violeta (Anna Alarcón) is a seemingly prosperous psychologist. One day she met a client Rita (Verónica Echegui). She revealed a disturbing news: She found out that her husband Jan (Alex Brendemühl) ) Still obsessed with his first love. Twenty years ago… Violetta. Rita, who is becoming more and more brazen, tries to persuade her to meet Jane, ostensibly to solve their marriage problem. As Violeta pops pills and falsifies, flashbacks reveal the devastating impact of her seaside romance in her youth, when she was a wild child.
In this urge to restore basic love at all costs, there is a bit of dizziness, and Dural-he is also a co-author-gives this retrogressive narrative a clever additional element: Jan is the founder of a sick gift company The company records and provides post-death video information to relatives and friends of the dying. (We learned in the preface that this is how he met Rita, a companion of an isolated soul.) Redemption, and original sin, are all in the past.
The film has an exaggerated greenhouse potential in operation. But apart from the beautiful header image, the young Violetta is lying half-naked in a beach cave like Venus de Milo, and Dural is very cautious about its guidance-many of his hand-held methods are His first choice. More visual firepower may give a better definition to the story, and it is prone to some boring and repetitive halfway. However, the actors are firmly locked in the atmosphere of obsessive-compulsive disorder, especially Pablo Molinero as Violeta’s shocked husband; presumably because he was not involved in the subsequent sex The scene was shocked by the screaming pressure valve.
