[Editor's Note: The recent DVD release of the exceptional Spanish drama "Cannibal" is prompting reposting the following July 2014 review of the theatrical release of the film.]
Film Movement, which operates the uber-awesome independent foreign film club with selections that Unreal TV often features, once again exceeds expectations regarding making the 2103 Spanish thriller "Cannibal" available to the American public. This film should be watched while drinking Chianti and eating farva beans. It additionally will get the lyrics to the '80s song "I Eat Cannibals" stuck in your head.
This compelling tale of a skilled tailor with a taste for human flesh is hitting an art house theater near you and oodles of VOD platforms, which include iTunes and Amazon Instant, on July 25, 2014. Folks who want this future classic on DVD, which is definitely theater-worthy, will need to wait until October 21 2014.
The following clip, courtesy of YouTube, of the silent trailer for "Cannibal" provides an excellent taste (of course, pun intended) of the film. The beautiful cinematography in these scenes alone should have you running to the independent theater down the street despite the assortment of concession items likely disappointing true fans of the film.
The aforementioned exceeded expectations relate to the first of many twists in "Cannibal." The opening scene strongly indicates that the audience is in for a fairly standard slasher flick. The very minimal gore is the first clue that Film Movement once again emulates Indiana Jones in choosing wisely.
The night-time and lowly lit action soon shifts to the much brighter and more ordinary Granada-based life of titular carnivore/skilled tailor Carlos. The hunky Antonio de la Torre, whose credits include the Pedro Almodovar films "I'm So Excited" and "Volver," does a great job conveying this Spanish version of Dexter Morgan. Most men and women would gladly accept an invite to his secluded cabin/butcher shop.
Early scenes in this portion of the film have Carlos becoming friendly with his upstairs neighbor Alexandra. She is a masseuse who may well ensure that her seemingly all-male clientele leaves happy. Alexandra additionally derives pleasure from playing cat-and-mouse with Carlos, being unaware that that kitty has claws.
Ala the Hitchcock classic "Psycho," "Cannibal" really gets rolling when Alexandra's sister Nina arrives on the scene following the disappearance of her sister. One awesome twist regarding this is that any suspicion that falls on Carlos regarding Alexandra vanishing is minimal.
The relationship that develops between Nina and Carlos provides wonderful suspense regarding whether she will either come to believe that he literally has had her sister for lunch or if Nina will end up as Carlos' Christmas dinner. It additionally is interesting to see Carlos go about his everyday life in a manner that does not provide any inkling of his unusual eating habits or the manner in which he acquires his food. (The audience never does learn whether he is a leg or a breast man.)
The closing scenes further validate the theories that Film Movement has perfect instincts regarding the foreign films that it releases in North America and that those movies show American cinematographers that they have a great deal to learn.
These final moments have a plethora of truly unexpected twists and nicely bring "Cannibal" full circle. All this truly whets your appetite for more.
Anyone with questions or comments regarding "Cannibal" is strongly encouraged to email me; you can also connect on Twitter via @tvdvdguy.
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