‘Cage’: it is worth the risk of hitting, even if it is irregular

When a new film by M. Night Shyamalan (“The Sixth Sense”, “Time”) comes out, you already know what to do: go to the cinema without knowing anything about the plot, waiting for the big surprise that will lead to a brilliant development or, to irregular times. This second case is that of Sony’s major new commitment to Spanish horror and cinema, “Cage”, in theaters on September 9th. Like this, the only thing that can be advanced by the story is that it features a stressed-out adult couple who suddenly welcome a strange girl. Its rarity? He doesn’t speak at all and only feels safe inside squares of plaster painted on the floor.

Contained like the synopsis are the interpretations of the entire cast. Secondary characters Pablo Molinero (“The plague”), Eloy Azorín (“Alto mare”) and Esther Acebo (“La casa de papel”) together with the masterfully hypnotic Carlos Santos (“El test”) and Eva Llorach (“Who will sing you ‘) are pure constant pressure cookers that know when to swallow and when to stand out.These neighbors of the forest are very well directed in appearance and choreography by newcomer Ignacio Tatay. Her script, co-written with award-winning Isabel Peña (“El Reino”), intelligently refines the characters and dialogue to cover little and squeeze a lot. At least during the first half.

In this first act marked by the drama, the true protagonist of the film already begins to show off: Elena Anaya. Whether it’s because of her portrayal of Paula or because it was written in part by a woman who has already written complex female characters, ‘Cage’ proposes as a basis a current and very crude reading of what it means to be a mother and a wife in a complicated everyday life. Just as Kate Winslet fought for every wrinkle in her “Sea of ​​Easttown”, Anaya and the script shine in all those lights and shadows.

A thriller tone of content like that of HBO is what marks the second act of the film. Like the first, it wobbles a lot in rhythm and ends up getting too heavy. The slow pace makes sense, but it would have been better in a creepy miniseries format (Netflix is ​​involved in the film, who knows, because of course there is some material). Fortunately, what comes next increases the pace, but also scores an unbalanced division of the film into two powerful parts that do not reinforce each other.

How bold it is and how it could have been

Even if the final result doesn’t fit perfectly, the three acts of ‘Jaula’ boast an aesthetic taste that is anything but self-centered with a very intelligent staging: knows when to use the spaces of the house and when to vibrate with steadycam. This is also aided by Snorri Engilbertsson’s magnetic soundtrack, valid for any nightmare by Jordan Peele (“NOP”). Editing also knows how to disturb. You just have to forgive him for a wasted resource at a key moment in the film: some elongated flashbacks that simply tell the same thing but from another camera position, without adding anything that a simple shot or dialogue would have already allowed us to deduce.

We thus enter a surprising third act which justifies the participation of Álex de la Iglesia’s production company, Pokeepsie Films. Here is an outstanding trait in ‘Cage’, like It doesn’t just surprise, it uses the memorable impact of living in a movie theater to unleash a suffocating madness. In addition to being tense, it is socially bold, and we might even dare to say that it is necessary. It is very surprising such a dark, violent and serious bet in our cinema.

The resolution could have been the boldest icing, but the truth is that it forgoes terror so as not to mislead the powerful message. Consequently and intelligently, don’t expect jumpscare or sudden fears; ‘Cage’ is not that kind of movie. Due to this pacing and script decision, the footage would have benefited from a longer duration as required by such intense and socially similar projects as “Prisoners”.

With this ambition in thriller and terror, it is angrier to see the film come across two core issues of both.. In the first case, although it is very shocking, the triggering of the conflict is based on coincidence. And when it comes to the rules of horror, it’s frustrating not to allow yourself to guess. The what can be anticipated, but the why is never justified. Being such a big and bold approach, the footage can’t be finished thinking it was just because.

It’s a shame, because with that theme (THAT theme …), “Cage” could have been a much more relevant film. But it still is. In general there is a lot of commitment, style and respect for the themes it deals with: motherhood, social, mental, trauma … All are drawn with great solemnity, even if in the end it is done with simple chalk strokes like those that trigger everything the madness of the 106-minute film.

Note: 6

The best: Impossible not to open the mouth of the impact to all spectators.

Worse: the rhythm of the first part and its wasted connection with the rest.