A cannibal in Granada

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A routine and dull life can hide astonishing secrets, as tailor Carlos’, grave and responsible at work, silence and frugal at home, but with his refrigerator full of meat, human meat. The film’s slow cadence and the long sequence shots in contrast with the high tension of the story suit the character’s double life and personality, as in a Takeshi Kitano’s movie; the explanations for his behavior are simple as a child’s: “I wanted them and killed them. That’s what I do: I kill them and eat them”. The director doesn’t want to go deeper and verbalize more of Carlos’ tasty interest in the female flesh, although it’s clear how his cannibalism serves as a substitute for sex, considering the sensual way he spreads spices over the steaks with his fingers, how he smells the dead bodies in the “sacrificial altar” or his face of contained satisfaction when chewing the just-made tenderloin. References to his sexual impotence are suggested all over the film, for his null interactions with the Hitchcokian and receptive twin Rumanian young women, same as the parallel with the Catholic imagery of crucified Christ and the sacrament of Communion, which no doubt he follows too literally.

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