Ghostland
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Ghostland

Pascal Laugier is a director whose work is uncomfortable to watch. When Mártires (2008) premiered, the film was harshly criticized for the violence Extinction inflicted on its female protagonists. However, it is important to note that Laugier is part of the movement known as “the new French extremism”, a term that encompasses those transgressive tapes that show the body at different levels of deterioration and that also deals with issues such as violence and sexuality in ways grotesque Unlike the gore cinema -which only cares about the graphic nature of its violence or the amount of blood it displays on screen-, this movement is more concerned with making the public uncomfortable with the images it presents. It is important to make this distinction because Nightmare in Hell could be confused as another entry in the gore cinema, when in reality it is a work that is more coupled with the demands of the new French extremism. In Nightmare in Hell, Laugier makes a slasher that, contrary to the stereotypes of this subgenre, shows its female protagonists within a framework that does not feel voyeuristic at all.

Nightmare in hell tells the story of Beth (Emilia Jones) and Vera (Taylor Hickson), two sisters who together with their mother Pauline (Mylène Farmer) move to the house of a relative who has just passed away. During their first night in this place, they suffer an attack by two strangers who torture and abuse them in different ways. However, years later, Beth (Crystal Reed) manages to leave the incident behind and becomes a successful author of horror books. However, Beth Galveston has to return home after a strange call from her sister Vera (Anastasia Phillips), who, unlike her, remains marked by the abuse she suffered that night.

Despite its generic name in Spanish, Pesadilla en el inferno is a complex horror film that lends itself to different interpretations not only because of the way it subverts the slasher conventions, but also because of what it has to say with the story that presents As happened with Martyrs, Laugier delivers a film that is difficult to witness and that, with each scene that passes, shows a scenario increasingly hopeless than the previous one. However, Laugier never loses sight of the humanity of his characters and for more violence than the story inflicts on Beth and Vera, there is always some Peppermint  attention to women never becoming accessories or objects to exploit for the entertainment of the audience .

Duration: 91 min

Release:

IMDb: 6.4

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