Disappear Completely
Now playing in select theaters, ‘Disappear Completely’, does take a different demographic so to speak. The film’s first two acts can only be described as chaotic. hroughout its two-hour runtime, “The Structure” suffocates the viewer with dread. On the film, which won awards at various festivals, tells a strange but interesting story that almost resembles the nightmare that it starts a Hell. The film reminds one of the most distinctive pieces of terror genre, ‘Shutter Island’, which Henaine’s sympathizers have referred to it in an interview.
The film is, nevertheless, captivating. Its visuals are hauntingly gorgeous and laced with Evans’s distinctively European sensibilities. His stylistic fluency and rhythmic precision touch the Bolshoi Ballet. It stays in the head long after the film is over. Henaine made a commentary about where we have come. Seemingly recognizing the tension quietly builds from safe pretentiousness before boiling over with brutality, neither side ever seems to feel satisfied.
The protagonist in the movie, or rather the tormentor, is once again a professional photographer, Santiago (Harold Torres), who, as a bullheaded photographer, will take any photo necessary regardless of how many laws he violates. Not the most likable of characters, yet he intelligently manipulates the boundaries of good and evil, and, judging by the challenges that he encounters in both his life and profession, one would argue that these challenges are mostly self-imposed, even if he is incapable of self-awareness. And then when he finds out that his girlfriend got pregnant, he is far from being sensitive to the matter. It surely ought to impede with his profession. Long before the movie even begins unfolding the tales of detachment, she assures Santiago, I see the polar opposite of what you see. It is as if sound helps him talk even to something that he doesn’t understand. This is about to become true in that order.
Due to his obsession with acquiring the next scary image, which he is able to sell to magazines, he ventures to a house in which a dead body appears to have been devoured by rats. He remembered himself sitting in a dark room, a flashlight illuminating the room, as he snapped the shot and then covered it with “Say Cheese!” as a caption. “What happened after this pretty disturbing event?” was the question everyone had. As it turns out, he has been the subject of a curse, and its physical manifestation is the gradual consumption of his senses, in succession. Eliminating one sense at a time, losing the lesser known senses of smell and taste might not be something seen in movies, but Henaine and his crew enjoy the final part of the film where, how do we put it, it gets too bizarre and the sound design becomes Oscar worth. It is quite interesting how the combination of words even if in their thinest form is capable of sound, sights that puts forth Dan’s anguish, depression and deterioration his body’s, and mind’s structure.
From the opening, the cinematography of Glauco Bermudez is authoritative as it sets up a strict ordering through images which is then decomposed through the disintegration of Santiago’s life. Santiago’s panic begins building when he sees he is about to live the film’s title PANIC. This includes more and more questionable decisions. Some of what occurs in the last act of the script is just superflous exercises in providing an explanation of what is happening to Santiago but this does not really add much to this particular tale. If anything, there is a better version of this film that is more surreal with more audacious narrative devices. This works as well as the film does simply because of how fully Henaine and his team engage us in Santiago’s story. I think the very good Torres appears in almost every action or at least very close and this perspective in view position is a very good idea because it puts pressure on the path. Like those Carpenter and Craven tales, this narrative is a receipt of a man who earns himself a one way ticket straight to hell, and we aren’t agonized by the expectation.
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