The selection “Series B” : ANGUISH

To help you make your choice in the multitude of series B generated by the cinema operating for the past fifty years, here is a selection of films distinguished by their high degree of improbability, their faults of taste assumed and their leadership qualities-works well known.

Two high school girls, Patty and Linda, attending, enjoying a snack of popcorn, at the meeting in the morning of a horror movie. On the screen, Alice, using his hypnotic powers, tries to save his son John, who becomes blind. She drives out to avenge his blindness, going to collect the eyes of the victims he slaughtered brutally.

Between 1970, the year of release of The Bird with the plumage de Cristal by Dario Argento and 1984, where the public discovered the Body Double de Brian De Palma, the genre enjoyed a period of rivalry between the two filmmakers which was as successful as interesting as she pushed the rivals to offer their interpretation respective of the account of crimes. The Italian was on the screen what the genre of the giallo offered to the public in literature, namely, a fetishism of the criminal act, and an aestheticization playing on the porosities between the thriller and the fantastic. For its part, the american was amused and deepen the furrow of Dad Hitchcock, all in the decorating of an update to the seventies in the mix of the violence and the explication of sexuality. Anguish was released in Spain in 1987, four years after the end of this prosperous period in which De Palma and Argento built each their cinema on the ambiguity between perversion and the pure pleasure of staging mannerist.

Fernando trueba is a filmmaker generous, not the kind to be done in half measures, and it is through this generosity that one finds with his film, a pleasure similar to the one that we have procured two masters of the thrill. Luna is positioned on the mise en abyme of tales stowaway, by searching in a first time to create a accomplice with the public, where it can accept the mixture of unhealthy and grotesque in the first layer of the story, knowing that his two visual aspects are involved in its artificiality obvious. This framework is an accomplice is, of course, depicted by the decoration of the theater room where couples and friends gather to shiver together, sharing a moment of communion cathartic which a priori allows them to exorcise their fear in a context without risk… a priori. Because this passage to the second layer doesn’t drain to much of the anxiety carried by the first; on the contrary, it allows him to reach a higher level, since in contrast to out of kilter grimacing of the series B projected on the screen, is in the room, spectators whose behavior is febrile and allows us to identify and attenuate the impression of artificiality.

“Anxiety is a spiral that sinks into our minds and trouble our guides cognitive and sensory.”

But caution: I have stated that fernando trueba was generous, and his concept did not end with two layers of stories; a third is when the killer of the first layer takes refuge in a cinema similar to that of the second. There are some who still follow what I’m telling you, there ? When we look at the pattern of a narrative ofANGUISH in its entirety, there is therefore the mirroring of two interrelated phenomena : the passage to the third layer of narrative, corresponding to the appearance of this other movie theater within the first story, reproduced to reverse the effects of the previous passage, that the first story to the second. This time, the apparition of spectators to the cinema for the first story defuses in part to the artificiality that he had maintained until then, we feel as much empathy for them, than for those of the second layer of narrative.

This game of ebbs and flows with the anxiety contagious from one viewer to another eventually lead to the end of the film, a complete confusion between what belongs to the reality, which belongs to the fiction, or even fiction in fiction for characters who become spectators of their own fiction/reality…do you always follow ? Among the recurring motifs, which serve as the ordinary to the aesthetic of the thriller, Luna chooses to reveal various objects in the form of a spiral; choice of hitchcock most relevant since ANXIETY as a whole is a spiral that sinks into our minds and trouble our guides cognitive and sensory.


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