The Haunting | |
---|---|
Spanish | NO-DO |
Directed by | Elio Quiroga |
Written by | Elio Quiroga |
Produced by | Elio Quiroga |
Starring |
|
Cinematography | Juan Carlos Gómez |
Edited by | Luis Sánchez-Gijón |
Music by | Alfons Conde |
Production company | Eqlipse Producciones Cinematográficas S.L. |
Distributed by | EuroVideo |
Release dates |
|
Running time | 94 minutes |
Country | Spain |
Language | Spanish |
The Haunting or The Beckoning (Spanish: NO-DO) is a Spanish supernatural mystery horror film written and directed by Elio Quiroga which stars Ana Torrent.
The plot follows the plight of Francesca, a pediatrician coping with the sudden death of her baby who moves to a countryside manor with her husband Pedro to seek solace and recovery from her trauma. [1] [2] Once there, she starts to experience disturbing supernatural phenomena instead. The supernatural mystery is connected to the existence of a B-side of "secret" NO-DO newsreels commissioned by the Francoist regime (and hidden by the Catholic Church) recording every miraculous development in Spain and which ended up stumbling upon some dark gods. [3] [4] [2]
An Eqlipse Producciones Cinematográficas production, [2] the film had the financial support from Canarias Cultura en Red and the collaboration of TVE, ICAA, Cabildo de Gran Canaria and Las Palmas de Gran Canaria International Film Festival. [5]
The film was presented in March 2009 at Las Palmas Film Festival. [6] It was theatrically released in Spain on 12 June 2009. [4]
The review in Fotogramas rated the film 3 out of 5 stars, deeming it to be an "appreciable" new wrinkle to the cinema of Arrebato , Buñuel's catholic anti-clericalism and Don Coscarelli's plot twists, also highlighting the performance by Torrent. [1]
The review in El Mundo rated the film 2 out of 5 stars, writing about a film full of flaws, generally attributable to the screenplay and, above all, to the budget shortcomings, otherwise featuring an "uneven but very entertaining story" and positively highlighting the insertion of a chapter with historical plausibility within a traditional horror story. [7]
Jordi Costa of El País considered that even if there are some predictable twists and a few missteps and the film suffers from budgetary constraints, "this story of martyrs and monstrous gods" "deserves to find its audience". [3]
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