WEBVTT 1 00:00:05.120 --> 00:00:07.960 Oh you is folks, it's show tied. 2 00:00:08.640 --> 00:00:10.599 People say good money to see this movie. 3 00:00:10.919 --> 00:00:13.560 When they go out to a theater, they want clod sodas, 4 00:00:13.880 --> 00:00:17.239 hot popcorn, and no monsters in the protection. 5 00:00:16.920 --> 00:00:20.920 Booth, everyone for tend podcasting isn't boring, cut it off. 6 00:00:39.759 --> 00:00:42.399 We are letting you out of what kind of probation? 7 00:00:44.719 --> 00:00:47.439 Her aunt and I hope that you can conduct yourself normally. 8 00:00:49.679 --> 00:00:51.679 What do they do in the clinic those three years? 9 00:00:52.799 --> 00:00:53.560 Did it cheer you? 10 00:00:54.399 --> 00:00:58.079 Yes? Now I'm completely. 11 00:00:57.640 --> 00:01:01.079 Mad and I'm reallything like and not to have you 12 00:01:01.159 --> 00:01:06.359 squalled on my sister's money. Please leave it alone. 13 00:01:06.680 --> 00:01:08.959 That still leaves to ray sein Esther for you. 14 00:01:11.920 --> 00:01:14.159 Leave your cousins alone, all three of them. 15 00:01:14.359 --> 00:01:24.760 Please, this is a new game. I don't trust him. 16 00:01:40.680 --> 00:01:47.560 You get you no. 17 00:01:55.760 --> 00:01:58.040 Welcome to the projection booth. I'm your host. Mike White 18 00:01:58.120 --> 00:02:02.959 joined me once again is Professor Nick Hello. Also back 19 00:02:03.000 --> 00:02:05.120 in the booth is Miz Heather Drain Hello. 20 00:02:05.200 --> 00:02:05.519 Hello. 21 00:02:06.359 --> 00:02:09.759 We continue October twenty twenty four with a request from 22 00:02:09.800 --> 00:02:14.120 our Patreon donor Kyler Faith. We are discussing Claudio Guerin's 23 00:02:14.439 --> 00:02:18.199 Bell from Hell, written by Santiago Mancata. The film tells 24 00:02:18.240 --> 00:02:21.759 the story of John played by Renault Verly, a man 25 00:02:21.800 --> 00:02:25.759 recently released from a mental asylum where he was put 26 00:02:25.800 --> 00:02:29.560 by his aunt Marta played by Vivica Linfirst and her 27 00:02:29.680 --> 00:02:33.159 three comely daughters. He's back, and we're not quite sure 28 00:02:33.199 --> 00:02:35.280 what he's up to. Is he just a fan of 29 00:02:35.319 --> 00:02:39.879 incredibly elaborate pranks or is he bent on revenge? We 30 00:02:40.000 --> 00:02:43.240 will be discussing that and a whole lot more as 31 00:02:43.280 --> 00:02:46.560 we spoil Belle from Hell. Nick, When was the first 32 00:02:46.599 --> 00:02:49.680 time Bell from Hell gave you black sensations up and 33 00:02:49.719 --> 00:02:50.719 down your spine? 34 00:02:51.800 --> 00:02:56.639 Probably around two thousand and six or seven, somewhere around there. 35 00:02:56.840 --> 00:03:01.360 I watched it with Don our friend Don May Junior 36 00:03:01.360 --> 00:03:05.080 of Synapse, filmed in preparation for the book, that book 37 00:03:05.120 --> 00:03:08.039 on Spanish horror, and you know that. And I was 38 00:03:08.080 --> 00:03:11.159 just thinking before the podcast that God I started that 39 00:03:11.319 --> 00:03:13.680 was a I haven't done any really serious work on 40 00:03:14.120 --> 00:03:18.840 any like Iberian horror since it's been twenty years since 41 00:03:18.879 --> 00:03:22.080 I started working on that. So yeah, so it was 42 00:03:22.120 --> 00:03:24.960 a real treasure to entreat to sort of revisit it 43 00:03:25.000 --> 00:03:25.879 all these years later. 44 00:03:25.919 --> 00:03:28.840 So I'm guessing going on twenty. 45 00:03:28.639 --> 00:03:31.439 Years ago whenever that DVD print, You know that came 46 00:03:31.479 --> 00:03:33.080 out whatever year that was. 47 00:03:33.039 --> 00:03:35.599 Two thousand and six, seven somewhere around there, you. 48 00:03:35.560 --> 00:03:38.319 Know, And then I watched it multiple times in preparation 49 00:03:38.439 --> 00:03:42.360 to sort of discuss it and analyze it, and was 50 00:03:43.159 --> 00:03:46.520 pretty blown away, you know. Even among that period of 51 00:03:47.000 --> 00:03:49.800 a filmmaking in Spain with a lot of unique and 52 00:03:49.919 --> 00:03:52.360 interesting things happening, this one really kind of popped and 53 00:03:52.400 --> 00:03:54.360 stood out in so many different ways. 54 00:03:54.360 --> 00:03:56.960 It was very cool. And Heather, how about yourself. 55 00:03:57.840 --> 00:03:59.879 My first time watching Go from Hell was this year. 56 00:04:00.639 --> 00:04:03.520 It was again like many a projection booth, But on 57 00:04:04.080 --> 00:04:07.280 this you gave me the impetus to, you know, actually 58 00:04:07.319 --> 00:04:08.919 sit down and watch something that's been on my watch 59 00:04:08.960 --> 00:04:13.280 list for quite a while. And I even though I'd 60 00:04:13.599 --> 00:04:16.480 read about it, I similiar with it. I'd even heard 61 00:04:16.519 --> 00:04:20.720 other podcasts talk about it. Nothing prepared me. Nothing. This 62 00:04:20.800 --> 00:04:22.759 is one of those films, even if you know every 63 00:04:22.800 --> 00:04:29.360 single spoiler, the way that it unfurls is so brilliant 64 00:04:29.439 --> 00:04:32.879 and just really i'mlike, kind of to me, like quite 65 00:04:32.959 --> 00:04:36.519 unlike anything I've seen in recent times or maybe ever. 66 00:04:37.160 --> 00:04:39.600 This is such a special film and I'm looking forward 67 00:04:39.639 --> 00:04:41.920 to to get into the nitty gritty with you guys. 68 00:04:41.920 --> 00:04:43.360 On this. 69 00:04:43.360 --> 00:04:46.160 This was also a first time watch for me. I 70 00:04:46.240 --> 00:04:50.319 think I somehow ended up with the DVD years and 71 00:04:50.439 --> 00:04:53.279 years ago and then Kyler requested this, so I kind 72 00:04:53.279 --> 00:04:54.920 of had that at the ready and was just like, 73 00:04:54.959 --> 00:04:57.879 all right, yeah, let's do it. I need the excuse 74 00:04:57.920 --> 00:05:01.000 to finally sit down and watch this. And I was 75 00:05:01.160 --> 00:05:05.639 so not disappointed. Yeah, what an amazing film, and just 76 00:05:06.480 --> 00:05:09.639 kept me guessing the entire time. I mean, the whole 77 00:05:09.680 --> 00:05:13.800 idea of our main character John constantly playing jokes. I 78 00:05:13.839 --> 00:05:15.839 mean we see him at the very beginning of the 79 00:05:15.839 --> 00:05:20.199 film making a mask for himself, making basically as he's 80 00:05:20.199 --> 00:05:22.000 putting this stuff on, I'm like, oh, he's going to 81 00:05:22.399 --> 00:05:25.439 make either a death mask or like a fake head. 82 00:05:26.079 --> 00:05:29.720 And I think it's like an hour and ten minutes 83 00:05:29.759 --> 00:05:32.519 before that finally pays off, maybe even longer than that. 84 00:05:32.839 --> 00:05:36.480 So if you're not paying attention, good luck, because you 85 00:05:36.519 --> 00:05:39.639 really actually need to be invested in this movie in 86 00:05:39.759 --> 00:05:41.879 order to get everything out of it. But I think 87 00:05:41.920 --> 00:05:44.720 it actually takes a few viewings to kind of parse 88 00:05:44.759 --> 00:05:46.920 your way through this whole thing because there are so 89 00:05:47.120 --> 00:05:51.279 many levels to it. And I it's so funny because 90 00:05:51.360 --> 00:05:55.480 you know, we do a podcast about horror anthologies around 91 00:05:55.480 --> 00:05:58.680 here called Midnight Viewing, and the next one that we're 92 00:05:58.720 --> 00:06:02.560 doing about a Tales from the Dark Side episode. Frerazaka 93 00:06:02.600 --> 00:06:05.680 plays a huge part of that, and for Zaka is 94 00:06:05.759 --> 00:06:09.040 a huge part of this one. It's kind of a 95 00:06:09.120 --> 00:06:13.279 neat thing because this is a French Spanish co production. 96 00:06:13.399 --> 00:06:15.839 You really get the French coming in from that. The 97 00:06:15.839 --> 00:06:18.879 rest of this feels very Spanish to me. But yeah, 98 00:06:18.920 --> 00:06:20.959 I'm so curious Nick as far as what was going 99 00:06:21.000 --> 00:06:25.519 on because this is still generally Simo Franco is still around, 100 00:06:26.319 --> 00:06:29.600 So how is filmmaking in the early seventies in Spain, 101 00:06:29.680 --> 00:06:31.399 especially genre filmmaking like this. 102 00:06:32.439 --> 00:06:35.360 First of all, with co productions, things were a little 103 00:06:35.360 --> 00:06:37.839 bit looser in terms of you know, because there would 104 00:06:37.879 --> 00:06:41.839 be they'd be making an international cut and a domestic cut, 105 00:06:42.079 --> 00:06:44.560 so things were a little a little bit looser, and 106 00:06:44.600 --> 00:06:48.920 Franco's tether on society was pretty pretty much eroded by then, 107 00:06:49.160 --> 00:06:51.800 so you know, anything that was still enforced was kind 108 00:06:51.839 --> 00:06:54.759 of out of out of like habit or shadow at 109 00:06:54.759 --> 00:06:57.639 that point. It's not it's not very long after that 110 00:06:57.720 --> 00:06:59.839 where you start seeing more and more of this type 111 00:06:59.839 --> 00:07:04.519 of filmmaking. But that said, even in by seventy three standards. 112 00:07:04.879 --> 00:07:06.879 It's doing a lot of things that the other films 113 00:07:06.879 --> 00:07:09.759 are not doing. The other films are still in many 114 00:07:09.759 --> 00:07:14.680 ways kind of mimetic of other euro horror tropes and 115 00:07:14.680 --> 00:07:17.160 and still kind of finding their way. You know, I 116 00:07:17.199 --> 00:07:19.959 think we're about a good five years into it now, 117 00:07:20.040 --> 00:07:23.680 and so you know, with the Blind Dead films and 118 00:07:22.800 --> 00:07:25.959 with what Nash's doing, you're starting to see more of 119 00:07:25.959 --> 00:07:26.920 a Spanish flavor. 120 00:07:26.959 --> 00:07:29.720 And then of course we have some of the sort of. 121 00:07:29.639 --> 00:07:32.600 Like anti tourism films that start to come out of 122 00:07:32.600 --> 00:07:33.959 Spain by the mid seventies. 123 00:07:34.040 --> 00:07:36.720 So I mean, it's interesting. I think I remember arguing 124 00:07:36.720 --> 00:07:36.920 in the. 125 00:07:36.920 --> 00:07:39.959 Book it was a long time ago that whereas you know, 126 00:07:40.079 --> 00:07:42.319 like if we're going to use like a Shatzian sort 127 00:07:42.360 --> 00:07:47.240 of diagram of like genre evolution, for example, Spain does 128 00:07:47.319 --> 00:07:51.079 horror in le the truncated, It does horror in ten years, 129 00:07:51.120 --> 00:07:56.120 where other horror producing movie cultures had decades of refinement 130 00:07:56.240 --> 00:07:58.120 and experimentation and stuff. 131 00:07:58.199 --> 00:07:59.720 So Spain seems. 132 00:07:59.480 --> 00:08:03.680 To go through that like very quickly, like to postgraduate studies, 133 00:08:03.759 --> 00:08:07.240 very quickly. And yeah, so I mean to try and 134 00:08:07.279 --> 00:08:10.920 get back and circle back to your question, it really 135 00:08:10.959 --> 00:08:13.279 does stand apart, and that's that's only made all the 136 00:08:13.319 --> 00:08:15.720 more testament by the fact that both of you, Heather 137 00:08:16.199 --> 00:08:18.800 and Mike, just watched this recently and are sitting here 138 00:08:18.839 --> 00:08:21.240 telling me it's kind of you know, it's hard to 139 00:08:21.279 --> 00:08:25.000 find films that are unlike other films, and when you 140 00:08:25.079 --> 00:08:29.120 find one that's like, WHOA didn't see all this happening here, 141 00:08:29.560 --> 00:08:30.800 it's it's pretty memorable. 142 00:08:31.560 --> 00:08:34.960 Yeah, I mean, memorable is definitely the word, especially because 143 00:08:35.039 --> 00:08:38.399 even you know Mikey's timate, like the mask and that payoff, 144 00:08:38.399 --> 00:08:41.639 but also the fact that we see John or you know, 145 00:08:41.840 --> 00:08:43.919 the character I think actual name is Wan, but in 146 00:08:43.960 --> 00:08:46.720 the main cut, I saw its John. He's being released 147 00:08:46.759 --> 00:08:51.480 from an insane asylum. And that is such a trophy 148 00:08:51.720 --> 00:08:53.480 kind of thing that you see a lot of movies, 149 00:08:53.679 --> 00:08:56.519 and but yet none of it feels like that. John 150 00:08:56.559 --> 00:08:59.320 doesn't necessarily, certainly as a character, come across like that. 151 00:08:59.360 --> 00:09:03.399 I mean, you doind of wonder about how reliable he 152 00:09:03.559 --> 00:09:07.120 is as far as like as a narrator, certainly, but 153 00:09:08.080 --> 00:09:10.480 from the very get go, everything that you think is 154 00:09:10.519 --> 00:09:14.080 going to be is not to be. And I love that, 155 00:09:14.240 --> 00:09:16.840 and especially because it's done. None of the twists are 156 00:09:16.879 --> 00:09:21.679 revealed in a hokey way or like an why m 157 00:09:21.799 --> 00:09:25.879 Night Chavalan kind of way, but it all feels really organic. 158 00:09:26.080 --> 00:09:29.679 And that's the thing is that everything is so beautifully 159 00:09:29.679 --> 00:09:33.120 stitched together in this film, like everything is layered, even 160 00:09:33.159 --> 00:09:36.440 the audio, because like the way that you make for 161 00:09:36.559 --> 00:09:39.039 a zhaka and the way that it comes into play 162 00:09:39.200 --> 00:09:42.200 is so eerie and ghostly, and it's almost like it's 163 00:09:42.240 --> 00:09:46.039 like like dual triple layers at times of the girls 164 00:09:46.159 --> 00:09:50.639 of hearing these little girl children like singing for a shaka, 165 00:09:50.720 --> 00:09:52.480 and then at times you don't even hear any music, 166 00:09:52.519 --> 00:09:54.960 you just hear like birds and sounds of nature. The 167 00:09:55.039 --> 00:09:58.120 way nature's integrated in this film too, I found really 168 00:09:58.159 --> 00:09:58.879 really striking. 169 00:10:00.080 --> 00:10:02.639 And you've got the whole idea too of the church 170 00:10:03.320 --> 00:10:07.039 and these good church going folks. They're about to get 171 00:10:07.039 --> 00:10:10.960 this brand new bell, the titular bell from Hell, and 172 00:10:11.039 --> 00:10:13.399 I just love that we get this bell going through 173 00:10:13.480 --> 00:10:15.360 so much of the beginning of this movie. And it 174 00:10:15.399 --> 00:10:17.919 really doesn't even make sense as far as how long 175 00:10:17.960 --> 00:10:20.399 it takes for this bell to get to the church. 176 00:10:20.799 --> 00:10:23.840 I mean, he passes it the first day, he passes 177 00:10:23.879 --> 00:10:26.320 it the next day too. It's like how long is 178 00:10:26.360 --> 00:10:29.039 it taking for this bell to get into town? And 179 00:10:29.080 --> 00:10:31.679 then yeah, that's another thing that pays off very much. 180 00:10:31.840 --> 00:10:34.679 Right at the end, I'm like, oh, okay, this is great. 181 00:10:34.759 --> 00:10:37.360 I really like this. And then for me, the whole 182 00:10:37.759 --> 00:10:41.440 for a jaka refrain if my French is okay, So 183 00:10:41.559 --> 00:10:44.320 it's you know, brother John. So we've got the John character, 184 00:10:44.440 --> 00:10:48.080 Brother John, Are you sleeping morning? Bells are ringing? And 185 00:10:48.120 --> 00:10:50.679 then ding ding dong. Of course, it feels like it's 186 00:10:50.720 --> 00:10:53.320 a direct address to him. You know, this whole idea 187 00:10:53.360 --> 00:10:56.120 of the surrealism of it, and I think that, you know, 188 00:10:56.159 --> 00:10:58.639 there are surreal moments in here, and I think there's 189 00:10:58.679 --> 00:11:03.240 a whole lot that plays into classic surrealism, you know, 190 00:11:03.559 --> 00:11:07.240 Louis Bounoel type of surrealism here when it comes to 191 00:11:07.840 --> 00:11:10.799 you know, the Insane Asylum. I mean, we just talked 192 00:11:10.799 --> 00:11:14.159 a few weeks ago about Malpa Twee and that ends 193 00:11:14.200 --> 00:11:17.320 at the Insane Asylum. That's the book end of that movie, 194 00:11:17.360 --> 00:11:20.679 spoilers from Malpertwee. But here we've got him at the beginning. 195 00:11:20.679 --> 00:11:23.120 And I love this too. When he comes out and 196 00:11:23.159 --> 00:11:26.840 he sets fire to the notice to say that he 197 00:11:26.879 --> 00:11:29.399 has to report back to the asylum. It's almost like 198 00:11:29.440 --> 00:11:32.519 he's on parole and he burns this thing and I'm like, oh, 199 00:11:32.600 --> 00:11:35.519 this is so draft card esque. And then he's on 200 00:11:35.720 --> 00:11:39.360 a frickin motorcycle. All right, we got like easy Rider 201 00:11:39.440 --> 00:11:43.039 in Spain here, this is pretty awesome. And yeah, he's 202 00:11:43.080 --> 00:11:46.159 just such a Devil may care guy. I don't know 203 00:11:46.200 --> 00:11:48.039 if I like this person. I don't know if I 204 00:11:48.200 --> 00:11:51.919 dislike him because some of his jokes get pretty sadistic, 205 00:11:52.320 --> 00:11:54.360 but at the same time, he has a good reason 206 00:11:54.519 --> 00:11:57.639 for being angry at his aunt, especially, and then the 207 00:11:57.679 --> 00:12:00.440 rest of the family talking. 208 00:12:00.240 --> 00:12:03.159 About the draft draft card moment, you know, the burning 209 00:12:03.200 --> 00:12:05.759 of and that reminds me to what Heather was saying 210 00:12:05.759 --> 00:12:08.519 a little while ago about the setting up the unreliable 211 00:12:08.600 --> 00:12:11.559 narrator right coming out of it insane asylum. But I 212 00:12:11.720 --> 00:12:15.000 just have to say that I remember, but I remember 213 00:12:15.159 --> 00:12:18.600 writing on my notes something along the lines of the 214 00:12:18.639 --> 00:12:22.159 easy writer thing, like you know, you know hit bike, Yeah, 215 00:12:22.200 --> 00:12:24.279 you know, well this is cool, And then I remember 216 00:12:24.360 --> 00:12:26.399 like hip bike, and then I wrote Middle. 217 00:12:26.120 --> 00:12:27.639 Earth question mark. 218 00:12:28.840 --> 00:12:32.120 Because I'm like, suddenly Gandolph and the little girl are 219 00:12:32.159 --> 00:12:35.200 there and we're in you know, deep deep Rivendell or 220 00:12:35.240 --> 00:12:38.279 something and I was like, what is it. I just 221 00:12:38.360 --> 00:12:39.559 remember as clear as. 222 00:12:39.519 --> 00:12:43.320 Yesterday writing down like Middle Earth question mark. It's not 223 00:12:43.480 --> 00:12:44.279 quite an opening. 224 00:12:45.159 --> 00:12:47.159 I can totally see that. Yeah, it feels like the 225 00:12:47.960 --> 00:12:50.200 little girl and the old man that they pass are 226 00:12:50.320 --> 00:12:53.559 completely out of time. I mean there's like the the 227 00:12:53.600 --> 00:12:56.519 ox cart type of thing. And I'm like, all right, 228 00:12:56.600 --> 00:13:00.240 I mean is that just hey, look at how out 229 00:13:00.279 --> 00:13:03.600 of touch Spain is at this point. And just the 230 00:13:04.039 --> 00:13:07.720 people that are in this little town that he visits, 231 00:13:08.080 --> 00:13:11.759 they just seem so, I don't know, insular and just 232 00:13:11.840 --> 00:13:14.960 like the word that Chris d kept using in the 233 00:13:15.000 --> 00:13:18.360 commentary was provincial. You know, they just they seem like 234 00:13:18.440 --> 00:13:21.200 they don't care about anything else in the world other 235 00:13:21.279 --> 00:13:23.679 than making money and having a good time. 236 00:13:24.519 --> 00:13:27.399 Do you think it's also like a class thing though, 237 00:13:28.159 --> 00:13:30.559 because yeah, because it's that's the thing is slate John, 238 00:13:31.480 --> 00:13:33.960 and especially like his aunts, like they live I mean 239 00:13:34.000 --> 00:13:37.519 the aunt and her her daughters live in like it 240 00:13:37.559 --> 00:13:39.799 looks like a castle, Like it almost looks like a 241 00:13:39.799 --> 00:13:43.039 mini castle, Like it's beautiful. And even John's little house 242 00:13:43.120 --> 00:13:46.840 this is really amazing, like the interior design and everything. 243 00:13:47.159 --> 00:13:49.559 But he has access to a motorcycle, he's access to 244 00:13:49.879 --> 00:13:53.480 some high seemingly kind of high tech for the time period, 245 00:13:53.559 --> 00:13:57.360 like taping devices and microphones and you know, and then 246 00:13:57.360 --> 00:13:59.879 you're comparing that. Of course, it's fine with the ox Car. 247 00:14:00.120 --> 00:14:01.879 When I first saw that, my first thought was those 248 00:14:01.919 --> 00:14:04.799 poor Oxen until we get to the slaughterhouse scene and 249 00:14:04.799 --> 00:14:07.840 then I'm like, you know what, the Oxen are fine, right. 250 00:14:07.679 --> 00:14:10.360 And there's your Boon and Well connection right there. 251 00:14:10.440 --> 00:14:13.320 Yeah, you know, among other films, and so yeah, it 252 00:14:13.440 --> 00:14:16.159 really the whole film is a mix of like art 253 00:14:16.200 --> 00:14:21.720 house sensibilities and you know, eurohor tropes kind of coming together. 254 00:14:21.840 --> 00:14:23.960 It's works so well too. 255 00:14:24.840 --> 00:14:27.600 Yeah, I don't think it's any coincidence that Franjou was 256 00:14:28.000 --> 00:14:31.320 made that, you know, Blood of the Beasts movie as well, 257 00:14:31.399 --> 00:14:35.759 and you know, you've got animal desecration in all the 258 00:14:35.759 --> 00:14:38.200 way all the way back to Lunchen and Dalou and 259 00:14:38.240 --> 00:14:40.960 then you've got even the fighting scorpions and Lage or 260 00:14:41.399 --> 00:14:43.600 where it's just like, okay, this is making me feel 261 00:14:43.679 --> 00:14:45.919 uncomfortable watching these guys just go at it. 262 00:14:46.200 --> 00:14:48.639 And then we get that nice echo later in the 263 00:14:48.679 --> 00:14:51.279 film when he's about to you know, with his. 264 00:14:51.279 --> 00:14:55.120 Co Yeah, this has been a rough few weeks for me. 265 00:14:55.279 --> 00:15:00.159 Seeing animals slaughtered in films, because we talked about the 266 00:15:00.200 --> 00:15:04.840 Slovakian film three twenty two in Cheptember and that had 267 00:15:04.919 --> 00:15:09.320 a big slaughterhouse scene in there. This, though, is far worse. 268 00:15:09.480 --> 00:15:13.360 This was really tough to watch, and especially the screaming 269 00:15:13.399 --> 00:15:16.240 of the lambs. Just hearing them going at it was 270 00:15:16.320 --> 00:15:19.039 just like, ah, my skin is crawling. 271 00:15:19.519 --> 00:15:23.000 And I thought Cockfighter was rough for me, and I 272 00:15:23.039 --> 00:15:26.360 mean it was Cockfighter was nothing. Cockfighter was Late Lady 273 00:15:26.360 --> 00:15:30.759 in the Tray app compared to compared to this, it was. 274 00:15:31.039 --> 00:15:32.519 And I mean, I have to get the third parts 275 00:15:32.519 --> 00:15:34.919 where I'm kind of like having to do what how 276 00:15:34.960 --> 00:15:36.960 I'd watch horror movies when I was little actually, which 277 00:15:37.159 --> 00:15:39.200 was like a lot of like me covering my face 278 00:15:39.720 --> 00:15:42.039 and then kind of peeking and being like oh Jesus Christ, 279 00:15:42.559 --> 00:15:46.559 like covering. Yeah, it's rough. It's really rough. I will 280 00:15:46.600 --> 00:15:51.840 say this. You know, the callback, the editing and the 281 00:15:51.879 --> 00:15:56.639 purpose of it. It's not done in an exploitative manner. 282 00:15:56.840 --> 00:15:57.080 You know. 283 00:15:57.240 --> 00:15:59.399 That was always kind of as much as I love 284 00:15:59.440 --> 00:16:02.159 parts of of a Holocaust, none of the animal cruelty 285 00:16:02.159 --> 00:16:07.120 in that film was was justified realistically at all. But here, 286 00:16:07.480 --> 00:16:09.720 you know, I'm not gonna say it's justified, but it's 287 00:16:09.759 --> 00:16:12.159 it's used well and to be honest, like those animals, 288 00:16:12.200 --> 00:16:14.759 those cows are gonna get slaughtered anyways. You know, that's 289 00:16:14.799 --> 00:16:21.799 just an ugly reality of life. Also, and because the 290 00:16:21.840 --> 00:16:23.720 whole thing is like for me, it's like, is that 291 00:16:23.840 --> 00:16:25.799 do you kind of feel like having it be so gruesome? 292 00:16:25.879 --> 00:16:29.000 Is also kind of a showing of like taking something 293 00:16:29.120 --> 00:16:31.720 natural because we see John surrounded by animals, like and 294 00:16:31.759 --> 00:16:33.360 he clearly loves him, like he has like a cute 295 00:16:33.360 --> 00:16:37.960 little black monkey. He's got a little turtle, which also surrealist. 296 00:16:38.039 --> 00:16:40.480 Does also feel very surrealisty to have just a random 297 00:16:40.720 --> 00:16:43.320 little turtle on the on this nice dining table. 298 00:16:43.279 --> 00:16:44.600 Which is which she picks up. 299 00:16:46.799 --> 00:16:49.120 Yeah, as if I didn't have enough reason not to 300 00:16:49.200 --> 00:16:51.039 like Marta, but it's just like the way she I 301 00:16:51.080 --> 00:16:52.919 didn't like. I didn't like the way she handled it turtle. 302 00:16:53.320 --> 00:16:56.159 But all the birds and nature is clearly like this 303 00:16:56.360 --> 00:16:59.679 beautiful sort of thing, Like it's like this magical kind 304 00:16:59.679 --> 00:17:02.320 of good right down to gandal. Do we have a 305 00:17:02.399 --> 00:17:03.919 name for the character. 306 00:17:05.039 --> 00:17:05.559 The hermit? 307 00:17:05.759 --> 00:17:11.039 Maybe because that tree is not completely alone though, is he? 308 00:17:11.720 --> 00:17:14.079 I would have called him a hermit too, But he's 309 00:17:14.079 --> 00:17:15.799 got a companion, he's. 310 00:17:15.640 --> 00:17:18.440 Got that little that little girl, and no, it's it's 311 00:17:18.480 --> 00:17:21.119 it's a funny because like you're your whole middle Earth. 312 00:17:21.160 --> 00:17:22.680 They crack me up because when I first saw him, 313 00:17:22.720 --> 00:17:24.119 I assumed he was a hallucination. 314 00:17:25.039 --> 00:17:27.279 Yeah, there was always that too. I did too, by 315 00:17:27.279 --> 00:17:29.680 the way. I'm like, is this is this just allegorical 316 00:17:29.799 --> 00:17:30.240 or something? 317 00:17:30.279 --> 00:17:30.480 You know? 318 00:17:30.839 --> 00:17:33.480 Right, But then later on they're like, no, this dude's 319 00:17:33.519 --> 00:17:36.200 real and this little girl is real. So but I 320 00:17:36.240 --> 00:17:38.759 love that. But again, they two, both of them are 321 00:17:38.799 --> 00:17:41.160 like seem to be of nature. They're like of the woods, 322 00:17:41.160 --> 00:17:43.240 and they seem to have kind of this beauty and 323 00:17:43.279 --> 00:17:46.079 purity about them that nobody else really does in this film, 324 00:17:46.119 --> 00:17:49.519 including John. And then like but like with the Slaughterhouse, 325 00:17:49.559 --> 00:17:52.000 it's so ugly and it's like this is what humans do. 326 00:17:52.079 --> 00:17:54.359 It almost to me, like we foul it up. So 327 00:17:54.440 --> 00:17:56.079 much of this film is kind of about the ugliness 328 00:17:56.079 --> 00:17:56.799 of human nature. 329 00:17:57.640 --> 00:18:02.079 I especially love when he's leaving the Slaughterhouse and he's 330 00:18:02.119 --> 00:18:04.240 just like, yeah, no I'm not coming back. Oh what's 331 00:18:04.279 --> 00:18:09.079 going on here? Yeah I learned enough. I'm like, oh, okay, 332 00:18:09.400 --> 00:18:12.079 that's a pretty telling line, as there's. 333 00:18:11.920 --> 00:18:14.240 A delicate flower in the foreground, right. 334 00:18:14.359 --> 00:18:16.400 I love that flower. That's what I was just about 335 00:18:16.400 --> 00:18:18.680 to mention, Like, you see all that blood and the 336 00:18:18.720 --> 00:18:22.119 blood on the floor, and I'd cut to that beautiful 337 00:18:22.160 --> 00:18:25.599 white carnation, and then when he's there quitting his job, 338 00:18:25.960 --> 00:18:28.480 the guy has the carnation like almost right next to 339 00:18:28.519 --> 00:18:30.839 his head. I'm like, ah, I really like the way 340 00:18:30.880 --> 00:18:31.680 that you're shooting this. 341 00:18:32.720 --> 00:18:35.480 Yeah, so much, so much loving attention to detail. 342 00:18:35.799 --> 00:18:38.079 You know, as I was watching it, I was looking 343 00:18:38.119 --> 00:18:40.359 at the sort of filmic technique and how he was 344 00:18:41.119 --> 00:18:44.759 shooting just something as simple as you know, the cart 345 00:18:44.839 --> 00:18:47.920 going by on a bridge, and the way he cut 346 00:18:47.960 --> 00:18:51.160 that up in the different points of view, and I 347 00:18:51.200 --> 00:18:53.440 was like, this is this is what a pity you 348 00:18:53.480 --> 00:18:55.519 know that this would end in tragedy, which I'm sure 349 00:18:55.559 --> 00:18:58.480 we'll talk about later because it's a real There's a 350 00:18:58.519 --> 00:19:02.680 really impressive style to the film visually, and that crazy 351 00:19:02.720 --> 00:19:06.119 sort of pal obsessed of a you know setting where 352 00:19:06.160 --> 00:19:10.680 we have slightly medieval and Gothic and contemporary and provincial 353 00:19:10.839 --> 00:19:13.920 and townies in their greed in there. 354 00:19:14.559 --> 00:19:17.200 So it is it is a crazy little mix, isn't it. 355 00:19:18.319 --> 00:19:22.119 I was thinking the same thing too, Like, especially by 356 00:19:22.160 --> 00:19:25.079 the end of the film, I'm like, I were so 357 00:19:25.319 --> 00:19:30.720 robbed of Claudio's dying so young. I mean after like 358 00:19:30.759 --> 00:19:32.440 literally off this film because like what else would this 359 00:19:32.480 --> 00:19:35.519 man have made after this film? Because of the visual language, 360 00:19:36.279 --> 00:19:38.880 and this film is like it's and I mean and 361 00:19:38.920 --> 00:19:41.480 it's just like it's the simple shots too. It's not 362 00:19:41.599 --> 00:19:43.119 like you know, I think people when people think of 363 00:19:43.160 --> 00:19:46.680 like visually last seventy four, they think like Argento, as 364 00:19:46.680 --> 00:19:49.200 they should, but but this is like it's a little 365 00:19:49.279 --> 00:19:53.559 it's a different style, and it's just it's framing. Everything 366 00:19:53.640 --> 00:19:56.319 is just so thoughtful, even like like what you later 367 00:19:56.400 --> 00:19:58.599 on when you have like the Cousins kind of on 368 00:19:58.680 --> 00:20:02.480 the you're hanging from this like you meat hook type thing. 369 00:20:02.559 --> 00:20:05.279 Oh he brings art to it. You're like, damn you 370 00:20:05.279 --> 00:20:07.240 you know it's. 371 00:20:07.000 --> 00:20:09.559 So beautiful because that I mean, we've all I mean, 372 00:20:09.559 --> 00:20:11.480 there's a number of some of these horror films with 373 00:20:11.519 --> 00:20:15.640 meat hooks, and they I wouldn't say the meat hook 374 00:20:15.680 --> 00:20:17.960 shocks being beautiful, and that's I mean, it's some of 375 00:20:17.960 --> 00:20:20.920 those are films I love. But yeah, this is it's 376 00:20:21.000 --> 00:20:21.519 our house. 377 00:20:21.599 --> 00:20:22.279 Is that what it is? 378 00:20:22.359 --> 00:20:25.920 Yeah, it is elevated you know, I totally agree, yeah, 379 00:20:25.960 --> 00:20:29.880 that that particular scene is really kind of you know, 380 00:20:30.200 --> 00:20:32.119 as breathtaking as it is off putting. 381 00:20:33.200 --> 00:20:36.480 Yeah, just so visually striking throughout so much of this. 382 00:20:36.599 --> 00:20:39.440 I love the scene and I'm kind of jumping around. 383 00:20:39.440 --> 00:20:43.960 But when he's I think he's again screwing with Pedro 384 00:20:44.119 --> 00:20:46.960 and talking about you know, the ghosts and all this, 385 00:20:47.200 --> 00:20:50.039 and like how you can still hear them on the moors, 386 00:20:50.079 --> 00:20:52.599 and then you start to hear the frey zhaka and 387 00:20:53.079 --> 00:20:55.559 you get the whole Oh that's the thing he's talking about, 388 00:20:55.599 --> 00:20:57.359 how he can't close the door. He has to leave 389 00:20:57.440 --> 00:21:00.119 the door open for these ghosts to come in, and 390 00:21:00.119 --> 00:21:02.960 then when you see them enter from the fog, it's 391 00:21:03.119 --> 00:21:05.759 just gorgeous to sing. 392 00:21:06.599 --> 00:21:12.160 Ah that is Oh, it's so pretty. 393 00:21:12.279 --> 00:21:15.680 Yeah, it's so pretty and so creepy because I honestly, 394 00:21:15.720 --> 00:21:18.119 and I'm not somebody who's scared of ghosts, Like I'm 395 00:21:18.119 --> 00:21:20.759 not the biggest fan of ghosts and movies typically because 396 00:21:21.400 --> 00:21:23.480 you know, it's it's just to me, it's a harder 397 00:21:23.759 --> 00:21:26.200 kind of subgenre to do well in a way that 398 00:21:26.240 --> 00:21:29.079 I like. But like as music and the way you 399 00:21:29.119 --> 00:21:33.559 see the figures, I was like, oh, that tension. I 400 00:21:33.599 --> 00:21:37.480 love it, and I did feel bad initially for for Pedro, 401 00:21:37.680 --> 00:21:39.960