#Magical girl site ending movie#

#Magical girl site ending movie#

This even extends to the mysteries that the movie is riddled with, which, when inflated further by the audience’s imagination, can end up being more than terrifying. We are thus presented with a film that appeals to the symbolic, the irrational and the intuitive a film that places its trust in the viewer, letting him or her flesh out the suggestions, the silences and the gaps in the narrative. And for the teacher being released from prison ( José Sacristán), flesh was what brought him down in the first place. In the case of the femme fatale ( Bárbara Lennie), the devil is the unbalanced force lurking inside of her. This was originally going to be the movie’s title, since it represents the three obstacles encountered by its protagonists: for the father of a terminally ill daughter ( Luis Bermejo), the world is his enemy because he doesn’t have any money.

Just like the record by the 1960s Spanish group Los Brincos, the film’s three parts are named “Mundo, Demonio y Carne” (literally “World, Devil and Flesh”), constituents that were the three enemies of the soul (money, Satan and sex), according to the catechism that this professed atheist was forced to study at school. In Magical Girl, meanwhile, the three sections are part of the same plot, which follows a character and then links up with another, although there are various points of view involved and ellipses are plentiful. In Diamond Flash, there were three plots: Family, Identity and Blood.

This is why his only two films so far are divided into chapters, which, he admits, assists him in lending his narrative some kind of order. Having been brought up on a diet of fanzines and comics, Carlos Vermut, the director of this film, claims that he was diagnosed with attention deficit as a child: he is unable to follow the narrative thread of a movie if there are too many stories going on within it and if it has a complex plot.