SPANISH, 19TH CENTURY. The war-torn side has led some of its inhabitants to build homesteads on the most desolate wastelands, where many branches once protruded from the hard ground like withered corpses clinging vainly to the empty, grey, and blue sky. no burden. So it’s a slightly better place to start a family than the suburbs! Salvador (Roberto Alamo) is the father, Lucia (Inma Questa) is the mother, and Diego (Asier Flores) is the son.
The latter wakes up in the middle of the night so frightened that his mother carves a terrifying figure, falls and destroys his castle. (It’s empty, fu.) He wakes his father, who takes his rifle and accompanies the boy through the floating fog. And freezing blue moonlight into the pavilion on the edge of the property so Diego can soothe his hyperboreal pelvic floor muscles. And tighten him afraid of passing urine so he can really go back to his bed and not sleep much. Poor kid needs a hug.
Fortunately, Lucia is a miracle mother.
You have to because El Salvador seems to have the emotional attitude of brick meatballs. That have been in the back of the freezer since 1997. Who could blame him after spending his days on rotten farms raising unhappy sheep and frightened rabbits? And picking vegetables from the soil that doesn’t bleed and chalk, certainly the saddest vegetables.
Ever to provide nutrition without happiness, like cabbage and beets. Scarecrows have been placed on the edge of the farm, rising like a cross, marking an invisible line that is not to be crossed. And you are not allowed to enter the local chupacabra territory or anything.
Salvador wants Diego to kill a rabbit to eat it, but the child is still not around. Which results in Lucia throwing him away for them to play with and carefree. This creates a dynamic where one parent wants to look after the child. Innocent as possible, and the others want him to know the bitter truth about where his dinner came from.
Old Salvador wasn’t the wrong person – he was just depressed. Diego watched his parents clean the rifle and then saw what it was like to put the barrel under the chin. Salvador tells of his younger brother being chased by a “wild beast”.
A tall, skinny human-like figure with sunken eyes who lurks closer and closer, fearing him even more. Which drives the poor girl crazy and ends up shutting down Suicide. A good story that won’t scare kids, you should send it to Reader’s Digest.
This is one of the films about the fateful day:
A seriously injured stranger drifts into a nearby muddy river one fateful day. And before Salvador can repair and feed him. The man grabs his rifle and lands in front of his wife and child.
Salvador decided it was best to find the man’s family and tell them about his fate. Which would be nobler and wiser if he had not left his wife and son alone to fight the beast. Darkness isn’t out yet, but it’s necessary because you don’t write a story like that in a script, and then you don’t ship the stuff.
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Questa presents a playful, Penelope Cruz appearance as a beautiful and happy mother who slowly loses her nerve like a human living in this brutally indifferent context.
The Wasteland creates a completely dark passage. Would you rather: Would you rather have something out there in cinematic that is sad, weathered, plain or nothing? Are you more afraid of the emptiness that inspires one to think about the hopeless emptiness or of the thing that lives and emerges from that void? Is there a third option? Please select the third option.
Note that there is no third option, and there may be only one result:
Psychosis on the outside and beyond. It’s interesting how this film portrays the problematic existence of its characters so cruelly and unwaveringly that Mother Lucia forgets that fact; Adding things to age enriches it a bit. But the more profound director David Casademunt dives into his premise.
The more he dissolves the same old clichés: depressing atmosphere, crazy people touching their skin, fear of jumping, things turning violent at night, the creature works like a metaphor for it. And that and that Etc.
It’s dark and humourless and not particularly funny and slack in the middle, but for what it’s worth, it’s also relatively well done, sonically consistent, and scares off. I shrugged my shoulders in the general direction. Some of its spooky photos may haunt you, but The Wasteland is too mediocre to warrant a recommendation.