First, let's talk about the film: Buried (Buried) (2010) is a narrative and technical challenge of the first order leaving the film record shot in unique setting in a brand very difficult to beat - until now in possession of Castaway (1943) Alfred Hitchcock - since all the action takes place in a coffin where the protagonist - and one actor - has been buried alive for reasons later known (without being entirely implausible). With such a premise, the main objective facing the viewer is to get the tension without resorting decay of flashbacks or air action plans based on "outside", which itself was, for example, Johnny Got his rifle (1971) by Dalton Trumbo. In that respect, the writer and director Chris Sparling Rodrigo Cortes look with a story that would have dazzled the very master of suspense . technical and narrative challenges aside, the argument extends intolerable to the scene Kill Bill 2 (2004) in which Uma Thurman was buried alive and, in turn, caused me considerable bad feeling. With Buried (Buried) , knowing what the thing is, that same bad feeling (this time in preventive plan) made me doubt even the very beginning of the movie if I could endure anything, but the fact is that , as the story takes over, you let go of the tension inherent in the thriller - dispensing information and drama, twists, and surprise events clearly marked the end (the latter more than guaranteed) - and forget macabre situation. So I dare to recommend it to all lovers of the thriller , excepuando perhaps the very squeamish (the doubters should dare to try). Edgar A.
Poe wrote in 1844 The Premature Burial, a story that is about the panic of being buried alive by a formal deployment does not violate any conventions of nineteenth-century literature, especially in regard to the narrator and the possibility physics tell their story (a constant requirement of the work of Poe, on the other side). Buried (Buried) link to rationalist tradition of classic narrative, but this time the key gadget is a mobile phone (including its various features). Despite limited space, Cortes dosing deftly dramatic crescendo , so that at no time has the feeling that there are elements or scenes that add nothing to the plot. Maybe some money may be exaggerated or are not well explained, but they are minor faults that are eclipsed by the hopelessness of the situation .
And now let's talk about the production, shot in just 17 days, the film maximizes the benefits of a great script with hardly generate costs, which is what usually ballasted these experiments as risky or titles of debutantes. In many ways, the production of Buried (Buried) is a carbon copy of Planet 51 (2009) and shows that it is one of the ways in which English cinema has chosen to internationalize : the money provide English-US co-production (step ensuring the distribution in the U.S.), English crew - in this case essentially Catalan. I wonder if, according to the criteria of the Act Catalunya Cinema, this film is considered "Catalan" - American writer, filming in English and a director clearly following in the footsteps of Amenabar in the industry, both by gender and by style. The final product is of excellent quality, easily exportable worldwide , on this side believe it is a good strategy to exit the English film plot and economic quagmire in which it is located. The third way - there is usually always third way - is following in the footsteps of French cinema : original arguments and without populism actors and local atmosphere and support of legislation and internal distribution enviable. When that happens, the signs are clear and unambiguous - for now - unheard of in Spain: risky scripts and film formats. Buried
(Buried) - apart from its subject - is a highly original and highly recommended film that devoted to other English filmmaker whose style reveals that he has grown up watching American movies . In any case, it is guaranteed the ability of English cinema to produce exportable products that boast without complexes.
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