![]() It only partially works as a stand-alone movie rather than a series. We’ll just have to wait and see.ģ0 Coins has just premiered at the 77th Venice International Film Festival. Perhaps the disjointed elements will come full circle in the next episodes. This is a film that relies on fantastical people, lucky charms and grotesque creatures rather than coherent narrative devices. The plot is entirely subordinate to stunning visuals. The colours are plush and vibrant, as in any good fantasy movie, helping to detach both characters and viewers from a plausible reality. It was mostly filmed in the small village of Pedraza (near Madrid), plus Toledo, Segovia, Salamanca, Ciudad Real and Almería. Old-fashioned stone houses, country mansions and churches give the film a very quaint, all-Spanish feel. This is a film dotted with religious imagery and biblical references, including a very strange crucifixion in its opening. A major duel and the grand finale take place inside a formidable Catholic church. Both Machi and Silvestre deliver energetic performances. Father Vergara believes that she is possessed by one of his old enemies. She will do anything in order to protect him from those who attempts to take him away. Carmen becomes obsessed with her new “baby”. The human-turned-creature is in search of a coin that emerged from under the skin of one of the subjects of Father Vergara’s exorcisms. The mayor Paco (Miguel Ángel Silvestre) and the local vet Elena set out to uncover the truth, which turns out to be far more elusive than anyone could have imagined. ![]() A local woman called Carmen (Carmen Machi) adopts the baby, who quickly grows into a very grotesque creature. One day, a cow gives birth to a human baby. Father Vergara (Eduard Fernández) is a priest with a very disreputable past as a boxer and former convict. The story is entirely preposterous and all over the place. ![]() His latest creation is another twisted fantasy teeming with horror and black comedy devices. Yet he’s guaranteed to entertain audiences. The cult director is perhaps too genre-orientated for a Golden Bear or a Golden Lion. Both films were prestigious enough to be included as part of the two events’ main selection, however running out of competition. He first showed El Bar three years ago at the Berlinale. This is at least the second time in recent years that this 54-year-old Spanish filmmaker premiered one of his works at a major film festival in Europe.
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