The Glass Coffin Review: An actress on her way to accept an award finds herself tormented by an unseen adversary in this rather sophisticated Spanish thriller.
THE GLASS COFFIN REVIEW
Screening at Frightfest, the Spanish film The Glass Coffin (also know as Le Ataúd de Cristal) tells the tale of one woman’s fight to escape her tormentors. Amanda (Paola Bontempi) is a famous actor on her way to an awards ceremony where she is to be the benefactor of a lifetime achievement prize. However, before she can get there, her transport is hijacked by a mysterious individual, intent on causing Amanda torment. The rules are simple, do as they say and Amanda will be fine, refuse and she’ll be sorry. As the tormentor’s requests become more drastic and perverse, Amanda must work out a way to survive her ordeal.
For those not sure about giving The Glass Coffin a watch, I’ll give you this pitch – a sophisticated Saw meets Elle. The Paul Verhoeven film performed excellently during awards season this year and there are many similarities between it and this one. Bontempi does a fantastic job and easily rivals that of Isabelle Huppert. Her performance is measured and calm, Amanda for the most part, being the perfect swan (calm on the surface, frantic underneath). This could have oh so easily resorted to lots of screaming and wailing, but does not. There are some exceptionally dark moments within, and Bontempi manages them in a deft and mature manner. Amanda is a true survivour and is constantly trying to work a way out of the dreadful situation affronted to her.
THE GLASS COFFIN REVIEW
Told in just 75 minutes, The Glass Coffin is a thriller that will keep you on the edge of your seat. We start with Amanda in her car, clearly revelling in the grandeur of both her transport and the night. She chats away happily to her husband, cracking open the champagne whilst commenting on the free cocaine, but it isn’t long before her phone call is cut short and her real evening unfolds. What follows the initial relaxed opening is a taut game of cat and mouse filled with plenty of squirm-in-your-seat moments.
Most of the film plays out simply with Amanda in the car interacting with the disembodied voice of her captor. This could have easily become a boring set-up, essentially it’s just one woman talking, but Bontempi draws the audience in and holds onto them. Being in every frame of a movie’s DNA can be too much for some, but here Bontempi handles the pressure like a pro.
THE GLASS COFFIN REVIEW
Visually the film feels expensive. The costs will have obviously been kept down by having the story restricted to just the one location. Director Haritz Zubillaga makes the most of his one location though, forever lighting in a different colour palette – red filters, white filters – giving the illusion of change. The score compliments the visuals beautifully, going from chilled-out to sinister in the click of a finger. A story that could technically work as a stage show, it is the camerawork that highlights why it should, and is, a movie narrative. The camera remains tight throughout and adds an element of claustrophobia that those sitting in absolute dark might find for uncomfortable viewing. You just couldn’t get the same effect on a stage.
An audition from Hell, The Glass Coffin, is a cautionary tale for actors everywhere – be careful who you cross on your way to the top. The premise could have all so easily fallen into torture porn territory, but thankfully Zubillaga skirts this. Instead he has created a strange and sophisticated blend of Saw (the first one, before the torture porn began) and Elle.
The Glass Coffin review by Kat Hughes, August 2017
The Glass Coffin is currently playing as part of the Horror Channel Frighfest 2017 programme.
