#Cristina Borobia

[bob-the-movie-man-film-reviews]

The Coffee Table (15): Farcical Horror That’s Blacker Than Black.

#onemannsmovies #filmreview of The Coffee Table. #thecoffeetable. A jet-black comedy horror that disturbs but impresses. 4/5.

A One Mann’s Movies review of “The Coffee Table” (2022). Original title: La mesita del comedor. In a world of bland Hollywood cookie-cutter horror films (“Baghead”, “Tarot”, “Imaginary”, yada, yada, yada…), “The Coffee Table” is refreshingly different. Gone are the jump scares. But it is far more horrific and tense than anything I’ve watched this year. Bob the Movie Man Rating: Plot…

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#TheCoffeeTable #bob-the-movie-man #bobthemovieman #Caye Casas #Cinema #Claudia Riera #Cristina Borobia #Cristina Dilla #David Pareja #Eduardo Antuña #Estefanía de los Santos #Film #film review #Gala Flores #Josep Maria Riera #Movie #Movie Review #One Man&039;s Movies #One Mann&039;s Movies #onemannsmovies #onemansmovies #Review

[fearsmagazine]

THE COFFEE TABLE - Review

AKA - La Mesita del Comedor DISTRIBUTOR: Cinephobia Releasing

SYNOPSIS: In the midst of their loving relationship, Jesús and Maria welcomed their child into the world. As they settled into their new apartment, Maria assumed control over most decisions, including the decoration. During a visit to a furniture store, Jesús asserted his will by selecting a gaudy coffee table, resembling Liberace's misguided venture into Ikea. Maria argues with the salesman, particularly regarding the price and his claims of an "unbreakable" glass top, but Jesús gets his small victory and purchases the coffee table. After bringing the table home and trying to assemble it, Jesús is faced with a screw missing. While he waits for the salesman to deliver the missing piece, Maria heads to the market to purchase groceries for lunch with Jesús's brother and his girlfriend, leaving him alone with their baby. As they go about their day they are unaware that this extravagant, seemingly inconsequential coffee table would be the catalyst for everyone’s horrifying nightmare.

REVIEW: In THE COFFEE TABLE, Caye Casas skillfully merges Hitchcock's mastery of visual perception and David Fincher's climactic tension-building from "Seven," resulting in an immersive and unrelenting cinematic experience. Casas audaciously sustains a dire scenario throughout a grueling 90-minute runtime, crafting a relentless narrative that captivates and unsettles viewers.

The screenplay skillfully constructs the character's arcs through their interactions, adding depth and complexity. The sound design is effectively used to stimulate the viewer's imagination when tragic events occur off-screen. The limited perspectives revealed build suspense and tension as the drama unfolds. A dynamic is established between Jesús and Maria, allowing the viewer to experience the tension before her reintroduction to the apartment after the tragedy. Their intensified interactions, along with the introduction of Jesús's brother and girlfriend, hint at an unfortunate outcome. The viewer's melancholy, based on prior knowledge, mirrors Jesús' emotional state.

The film's climax surprised me, both in its intensity and its conclusion. Early in the story, we meet a 13-year-old character and her pet. As the narrative unfolded, I couldn't help but consider the potential implications of this relationship for the film's dramatic conclusion.

Earlier, I mentioned Hitchcock and Fincher while discussing Caye Casas. Casas is a masterful filmmaker who expertly blends elements from these virtuosos with his unique vision to create a distinctive style. His film excels in suspense and tension, skillfully crafted through framing and editing. Casas gradually builds the suspense, offering brief releases, only to heighten it further, leading the viewer to the brink of an explosive climax. However, instead of revealing the horrific outcome explicitly, he leaves the audience bewildered and provides a nuanced resolution through exposition, focusing on the emotional impact on the individuals involved. Much like great horror films, he plants the seeds of terror, leaving the power of imagination to work its magic. While not shunning gore entirely, he opts for implication rather than graphic depiction.

THE COFFEE TABLE features an exceptional cast. The actors deftly navigate a wide range of emotions, creating an intense and evocative journey. Their performances culminate in a sophisticated emotional crescendo, a harmonious convergence of diverse feelings that builds to a haunting climax. It's like the final chord of the Beatles' "A Day in the Life," leaving a lingering resonance. These are performances that linger in the memory, haunting and captivating in equal measure.

Caye Casas’ THE COFFEE TABLE is a harrowing and masterfully crafted story that takes viewers on an emotionally relentless journey. It's a cinematic experience that leaves an enduring emotional impact on the viewer. The narrative plunges a group of characters into a horrifying nightmare, creating a grueling and nerve-wracking experience..

The film is classified as a “horror comedy,” and while it does have some humorous moments in the opening scene, once the tragedy strikes, any attempts at dark comedy only heighten the overall terror of the story. Caye Casas, the remarkable filmmaker behind this movie, is definitely a name worth keeping an eye on for future projects.

CAST: David Pareja, Estefanía de los Santos, Josep Riera, Claudia Riera, Eduardo Antuña. CREW: Director/Screenplay/Editor - Caye Casas; Screenplay - Cristina Borobia; Producer - Norbert Llaràs; Cinematographer - Alberto Morago; Score - Bambikina; Production Designer - Cristina Borobia; Costume Designer - Maria Márquez. OFFICIAL: cinephobiareleasing.com/film/the-coffee-table/ FACEBOOK: www.facebook.com/cinephobiareleasing RELEASE DATE: Laemmle Glendale, LA Apr. 19th, followed by New York, Austin, Chicago, & on VOD & DVD May 14th, 2024 TWITTER: twitter.com/cinephobiar

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

#film review #movie review #THE COFFEE TABLE #La mesita del comedor #cinephobia releasing #caye casas #Cristina Borobia #david pareja #Estefanía de los Santos #horror #dark comedy #terrifying #joseph b mauceri #joseph mauceri

[screenzealots]

"The Coffee Table"

This unrelenting, bleak domestic drama with a sinister streak is one of the darkest films I have ever seen.

I just watched one of the darkest films I have ever seen, and that’s “The Coffee Table,” an unrelenting and bleak domestic drama that takes an incredibly sinister turn. This film pushes the envelope with an in-your-face 180 degree turn, and it’s one that’s absolutely not for the faint of heart. Jesus (David Pareja) is tired of his wife Maria (Estefanía de los Santos) always calling the shots.…

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#Caye Casas #Claudia Riera #Cristina Borobia #David Pareja #Estefanía de los Santos #Fantastic Fest #Josep Maria Riera

[englishmansdcc]

THE COFFEE TABLE MOVIE review - A roller coaster ride of emotions that you won’t want to miss!

Director: Caye CasasWriters: Cristina Borobia and Caye CasasStarring: David Pareja, Estefanía de los Santos, Josep Maria Riera, Claudia Riera, and Eduardo AntuñaMovie Length: 1 hour 30 minutes What it’s about: The Coffee Table is about a couple, Jesus and Maria, who appear to be in a rut with their marriage while dealing with their first and newborn child. When Jesus randomly decides to purchase…

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#movie reviews #The Coffee Table

[usuallywisestarlight]

LA MESITA DEL COMEDOR

(Y EL DESTINO NOS VISITA) País: España Dirección: Caye Casas Guion: Caye Casas, Cristina Borobia Reparto: David Pareja, Estefania de los Santos, Claudia Riera, Josep Riera, Itziar Castro, Eduardo Antuña, Emilio Gaviria… Fotografía: Alberto Morago Alhena Production, Apocalipsis Producciones, La Charito Films Sinopsis María y Jesús acaban de ser padres, pero su relación de pareja no pasa…

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[moviesandmania]

THE COFFEE TABLE (2023) Reviews of Spanish horror and release news

The Coffee Table is a 2022 Spanish horror film in which a middle-aged couple, blessed with a newborn baby, buys a gaudy coffee table, a decision that will dramatically change their lives. Directed by Caye Casas (Killing God, 2017) from a screenplay co-written with Cristina Borobia. Reviews: “The tension is constant and palpable, with the horror absurd and the laughs uneasy.” Projected…

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#2022 #horror #review reviews #Spanish #The Coffee Table #trailer

[que-noticias]

Borobia (Soria) rinde el sábado homenaje a su paisana Cristina Ouviña, base de la selección española de baloncesto

Borobia (Soria) rinde el sábado homenaje a su paisana Cristina Ouviña, base de la selección española de baloncesto

EUROPA PRESS

El Ayuntamiento y el pueblo de Borobia rendirán el sábado 20 de julio un homenaje a su paisana Cristina Ouviña Modrego por los méritos logrados en la selección española femenina de baloncesto, donde juega en la posición de base.

La jugadora la selección, con orígenes directos en Borobia, ha estado a lo largo de toda su trayectoria deportiva en las diferentes categorías de la…

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[35milimetross]

Crítica – ‘Matar a Dios’

Título original: Matar a Dios

Año: 2017

Duración: 90 min

País: España

Dirección: Albert Pintó y Caye Casas

Guion: Albert Pintó y Caye Casas

Música: Francesc Guzmán

Fotografía: Miquel Prohens

Dirección de arte: Cristina Borobia y Antoni Castells

Reparto: Itziar Castro, Eduardo Antuña, Boris Ruiz, David Pareja, Emilio Gavira

Productora: Alhena Production

Género: Comedia

Ha sido paloma, zarza ardiente, un señor de cabello y barba blancos e incluso un hippie alternativo con poderes curativos y tendencia a la empatía. Dios, Yahvé, Alá… Tiene muchos nombres, pero, en definitiva, no deja de ser ese jefazo todo poderoso que según varios millones de creyentes de todo el mundo nos creó a su imagen y semejanza. Sí, ese mismo. Ese señor tan peculiar y que tantas formas ha tenido a lo largo de la historia nos llega esta vez con la cara de un mendigo de apenas metro treinta de altura y unas maneras muy poco ortodoxas.

Se trata de Matar a Dios, cinta ganadora del Premio del Público en la última edición del Festival de Sitges, que cuenta como la nochevieja de Ana (Itziar Castro) y Carlos (Eduardo Antuña) en compañía del hermano y padre de éste (David Pareja y Boris Ruiz) se ve arruinada con la llegada de un pequeño vagabundo enano y con muy mala leche (Emilio Gavira) que no solo dice ser Dios sino que además amenaza con acabar con la humanidad al día siguiente, dándoles a los cuatro protagonistas la oportunidad de elegir los nombres de las dos únicas personas que podrán salvarse. Esta comedia negra conforma el primer largometraje de sus directores, Albert Pintó y Caye Casas, después de una década enfocada especialmente al cortometraje.

Si bien es cierto que su reparto funciona a la perfección, a pesar de ciertos detalles que como espectador tiquismiquis me chirrían (¿cómo es posible que un padre catalán tenga un hijo con acento asturiano y otro con acento andaluz?), el conjunto de la narración no acaba de cuajar. Se trata de un film que se presenta voraz desde el primer minuto, con un tono que recuerda al Álex de la Iglesia más castizo, pero cuya premisa se acaba diluyendo en una trama algo torpe y floja. Su realización muy cuidada y su diseño arte ciertamente destacable ayudan bastante, pero, al final, Matar a Dios gana más por su reflexión sobre los límites del ser humano que por su intento de refrescar el género.

En sus momentos más brillantes logra algo parecido a lo que hacía La comunidad (Álex de la Iglesia, 2000), aunque se queda corta en sus formas. Su final es redondo pero predecible, y sus altibajos narrativos le acaban afectando demasiado. Y es que, sea o no mortal, el señor todo poderoso, lo que está claro es que Matar a Dios es una película con mayores ambiciones de las que se puede permitir y, en definitiva, una obra interesante pero en ningún caso sobresaliente.

Lo mejor: Los diálogos, la fotografía y el diseño de arte.

Lo peor: Su falta de gracia y “bizarrismo” para ser una película vendida como “comedia negra”.

Nota: 6,5/10.

La entrada Crítica – ‘Matar a Dios’ aparece primero en 35 Milímetros.

from WordPress http://35milimetros.es/critica-matar-a-dios/

#Críticas #albert pintó #Boris Ruiz #caye casas #cine español #comedia #Comedia negra #David Pareja

[usuallywisestarlight]

LA MESITA DEL COMEDOR

(Y EL DIABLO DE VISITA) País: España Dirección: Caye Casas Guion: Caye Casas, Cristina Borobia Reparto: David Pareja, Estefania de los Santos, Claudia Riera, Josep Riera, Itziar Castro, Eduardo Antuña, Emilio Gaviria… Fotografía: Alberto Morago Alhena Production, Apocalipsis Producciones, La Charito Films Sinopsis María y Jesús acaban de ser padres, pero su relación de pareja no pasa por…

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