Maximiliano (Demián Salomón) is a psychiatrist who has just published a book called Tribal Education, a title that already anticipates what will happen in the film.
Orphan and raised in a foster home in the province of Buenos Aires Maximiliano receives a call from one of his brothers informing him that "papa" had died, proposing that he return to town to face the inheritance procedures. He thus undertakes a return to a past that he intended to overcome.
His reunion with several of his "brothers" from the orphanage will gradually introduce him into an increasingly macabre plot that is not alien to disturbing memories or visions of his adolescence that erupt with increasing force.
Alejandro Cohen Arazi's film falls into the subgenre of something that we could call "sect and dynastic terror" (but with less pretense than the overrated Midsommar, for example). It is a potentiation of the horror of the return to the small payment and its ghosts, a town with its alienated power structures and its patriarchal rites intact.
The problem with The Unburied Corpse is that except for two or three scenes (one of them with a very high impact but tangentially related to the main plot and another that could have given rise to a different film) it does not disturb or scare (or not much ) while the underlying psychological and "family" drama does not fully consolidate. The film culminates in an interesting ending that redefines the story but is not enough to save the whole.
Special mention for Mirta Busnelli personifying a kind of witch, located (actress and witch), beyond good and evil.
Orphan and raised in a foster home in the province of Buenos Aires Maximiliano receives a call from one of his brothers informing him that "papa" had died, proposing that he return to town to face the inheritance procedures. He thus undertakes a return to a past that he intended to overcome.
His reunion with several of his "brothers" from the orphanage will gradually introduce him into an increasingly macabre plot that is not alien to disturbing memories or visions of his adolescence that erupt with increasing force.
Alejandro Cohen Arazi's film falls into the subgenre of something that we could call "sect and dynastic terror" (but with less pretense than the overrated Midsommar, for example). It is a potentiation of the horror of the return to the small payment and its ghosts, a town with its alienated power structures and its patriarchal rites intact.
The problem with The Unburied Corpse is that except for two or three scenes (one of them with a very high impact but tangentially related to the main plot and another that could have given rise to a different film) it does not disturb or scare (or not much ) while the underlying psychological and "family" drama does not fully consolidate. The film culminates in an interesting ending that redefines the story but is not enough to save the whole.
Special mention for Mirta Busnelli personifying a kind of witch, located (actress and witch), beyond good and evil.
