Los cronocimenes.

Another packed theater this week for Nacho Vigalondo's first feature length film, "Los Cronocrimenes (2007)" which translates into English as "Time Crimes." Thankfully, my viewing at Cinema 10 was my second encounter with the three Hectors, and I was able to appreciate the film on a new level. As was the subject of my last post, this Spanish film was a relatively low budget picture at just over $2 million, and it's clear that none of that money was wasted. The director even cut corners at appropriate - but never detracting - spots, particularly with the cast which consisted of only four actors, one of whom was the director himself.

The film follows Hector, a middle aged Spanish man, who gets inadvertently caught up in a web of time-travel. He finds himself chased by a strangely dressed assailant, which leads him to a lab where his only means of escape from certain death is in the belly of pretty plain looking tank. Transported back through time by only an hour, Hector tries to go home, but is stopped short when he sees his wife is having an affair... with - gasp! - Hector! Even though there's no technical difference, Hector feels the need to see to it that he, himself, gets back with his wife. Confusing? Only slightly. He foolishly and selfishly sets off a series of events that results in a deeply troubling, philosophical film.

Perhaps one of the film's strongest points is that it wastes no time trying in vain to explain the intricacies of the time travel it presents. There are no flashing machines or flux capacitors (Ahem...), or long involved monologues about what could happen if Hector interacts with his former self. Instead, the writer/director focuses on story and character, which should always be a film maker's intention. The audience gets a chance to see three different aspects of Hector's psyche as he's put through various tests of himself. We see - quite literally - his different faces and what each means to accomplish. In the end, though, his goal throughout is a noble one: to stay with and protect his wife.

There are two things present that are troubling. Maybe more. Almost definitely more, in fact. The first, though, is the overwhelming longing one feels after leaving the theater. It's a thirst that can only be satisfied by answers to questions that cannot possibly be answered. I'm not at liberty to spoil any aspect of the movie if you have not yet had the chance to see it, so I'll only say that I wonder what happens to the Hector we have at the end. Does he stay, or does he disappear? (On that note: the ending was perfect and beautiful in a manner reminiscent of "Fight Club (1999)" in which the two central characters find some comfort in the crumbling infinity around them). It's not a bad longing, the viewer is just left pleasantly unsettled. While most films have some sort of backdoor or solitary shot that allows for a relieving understanding of the film, this one is sealed up.
Secondly, the film seems to be haunted by the "horror" label. Maybe this is for the sake of American audiences, which differ drastically from those in Spain (as does the film industry). Horror has come to imply some sort of gore, and at the very least, a scary scene or two. You're not supposed to want to sleep alone after watching because you're scared of what's lurking. But this film has none of that. It's not scary or frightening, and is completely devoid of gore. It doesn't need blood and guts; it's not dependent upon people jumping out of the dark. It puts you on the edge of your seat and makes you want to sleep next to someone because it's suspenseful and thought provoking. It makes you want to share a bed so thoughts can be shared, and a comfort can be found in the blissful hopelessness that the film offers. Let's just call the film sci-fi and leave it at that.

Verdict: So Stoked! I could say "Great Scott," and it would be equally as appropriate. The film is surprising and smart and is nothing like I expected, which is said with something like an exhausted contentment. It's entertaining as hell as most definitely is a mental exercise. See the Spanish-Language English-Subtitled version if you can; there's a certain tone to the original language that adds to the film. The dialogue is minimal in the first place, so subtitles should not be an issue. Incredible turn out from the Cinema 10 Crowd, though I'm not sure what to expect for next weeks exhibition of "The Beaches of Agnes (2008)".