Michel Franco Father’s secret It was a tragic drama about the terrible spillover of teen bullying. The harsh catharsis was almost as amazing as the inhumane depiction. The breathtaking cruelty of Carlota Pereda’s feature debut, Piggy, Comparable to the 2012 Mexican production. Expanded from the award-winning 2018 of the short Spanish writer director of the same name, this disturbing psychological drama swirls in bloody horror, its wild genre limbs with its social commentary on violence and abuse. A very realistic and personal place.
The eerie atmosphere is a small hot summer community in the Extremadura region, which borders Portugal in southwestern Spain. “This town is full of meanness,” says the village’s hero’s mother (Carmen Machi), who seems to go nowhere. She’s not wrong, but she’s not exempt from her sins.
Piggy
Conclusion
The return on investment will be significantly reduced.
Her teenage daughter Sarah (Laura Galan) is in a bad mood and alone. She reluctantly helps her father (Frian Barcarsel) run a butcher shop, disappears into the music of headphones, and cool kids mix in the streets outside with grimaces, charm, and admiration. I’m watching it fit. Every time Sarah glimpses the social media feed of an average girl of her age, it reveals their vicious insensitivity to her embarrassment for her overweight. This is the reason for the ruthless nickname that provides the title of the movie.
The fast-paced incident of drama is one of the shocking emotional and physical abuses. Sara goes to the village pool early in the morning, hoping she’s gone. She finishes his swim while only a wise stranger (Richard Holmes) is there and she undresses her and prepares to slip into the water. But before that her cooling plunges into weightlessness, her three girls appear and begin to mock her. One of them, Claudia (Irene Ferrero), is refraining, perhaps suggesting her past friendships. But the other Rossi (Camira Aguilar), especially the hateful mastermind Maka (Claudia Salas), is unforgiving.
When a bully robs Sarah of her backpack, clothes, and towels and runs away, staggers her home, crying and traumatizing her, and covering her with a bikini alone, unsightly violence spreads. Three local boys in her passing car join her horrifying test with her own nasty provocation. But when she witnesses her torturer from a pool being kidnapped by a stranger who has observed her harsh experience, Sarah is momentarily shocked by her own pain. He was idle in the van, threw a towel and gazed at his accomplice, then drove a car with the bloody Claudia seen through the back window and asked for help.
Using his experience as a gay teen, a school-changing outsider, Pereda was the target of bullying and silently witnessed the pain of others.
With compassion and indignation, she observes that even a basically decent person like Claudia can be forced to set her conscience aside by pressure from her peers. The script also mentions how factors such as weight allow people to make their own decisions. A woman in a village said, “She’s actually quite fat,” after hearing how Sarah was ridiculed, and a grocery store clerk sacredly warned her of buying unhealthy snacks. If she eats them, she reminds her that she must live with the results.
The film reflects the damage that such stigma can do to the vulnerable teenage spirit, pointing out the harsh treatment dating back to Sarah’s childhood, even within her family. Emphasizes isolation from a sly wise mother. A vulgar father who inherited her body shape. And her brave brother.
Sarah is still terribly upset by her trials, saying nothing she saw, refusing to open the door to her people, cooperating with the police, or with the parents of the missing girl. Decided to speak, Claudia’s desperate mother (Pillar Castro) and Sarah. Her silence provides a satisfying reward at first, but gradually turns into guilt as other locals die. Sarah’s emotions are further complicated by her sexual attraction to strangers. Her stranger keeps in touch with her in a subtle way at first. However, she eventually abandons her passive helplessness and oppression and accepts her anger at Crescendo, who gives her the power of violent violence without being exploited.
Machi is a wonderful mother of Sarah’s temperament, and although not sympathetic, she protects her fiercely. But she carries the movie Galan. She is obsessed with the gradual change of her character, who longs for the invisibility of her body and town that does not offer her, from a timid young woman who has been made almost silent by social unrest. Her facial determination as she leaves the turmoil of the final act is while Sarah is offering justice, and not without repentance, regardless of price, she in the suffering of the torturer. It suggests that you also own the role of.
Cinematographer Rita Noriega emphasizes Sarah’s loneliness in the vast wastelands and shoots in a 1.33: 1 aspect ratio. It looks fresh, sweaty, rustic and embraces the sense of place. Camera movement and music use are minimal in the early stages, darkening as the tone shifts to full-fledged horror and Sara moves towards her complex calculations in a stranger’s slaughterhouse hideout. I’m more excited. Piggy It’s a study of a hurt personality, and there is no neatly organized redemption arc. The emotional cathartic portrayal of bullying and its tolls can be a fuss.
