The sweltering heat of summer in a small town hangs thick in the air in “Piggy,” the blistering feature debut from Spanish filmmaker Carlota Pereda. Part coming-of-age romance, part psychological body horror, “Piggy” firmly establishes Pereda as a bold new voice in feminist horror — that recently flourishing sub-genre popularized by the likes of Julia Ducournau, Ana Lily Amirpour, and Jennifer Reeder.
Aided by a dynamite performance from newcomer Laura Galán, As body shame and self-loathing morph into a disturbing complicity with violence, “Piggy” pushes the torments of youth to their naturally wicked ends. The film’s most brilliant trick is to mire the audience in the twisted moral dilemma with which its protagonist is grappling, taunting us with the question: What would you have done differently?
Loading its resonant title with double meaning, “Piggy” opens in a butcher shop. The opening frames include a whole pig hanging from a meat...
Aided by a dynamite performance from newcomer Laura Galán, As body shame and self-loathing morph into a disturbing complicity with violence, “Piggy” pushes the torments of youth to their naturally wicked ends. The film’s most brilliant trick is to mire the audience in the twisted moral dilemma with which its protagonist is grappling, taunting us with the question: What would you have done differently?
Loading its resonant title with double meaning, “Piggy” opens in a butcher shop. The opening frames include a whole pig hanging from a meat...
- 10/14/2022
- by Jude Dry
- Indiewire
Carlos Saura has suffered a minor fall and will no longer attend San Sebastian for the premiere of his latest film, The Walls Can Talk (Las paredes hablan), the festival has said.
In a statement, the festival said Saura’s injuries were not serious but he is no longer able to travel. The Walls Can Talk will still screen on Wednesday as planned as part of the festival’s Rtve Galas.
Produced by María del Puy Alvarado of Malvalanda, the doc is billed as Saura’s take on the origin of art and its relationship with the most avant-garde tendencies. Seen from the Spanish moviemaker’s personal and distinctive point of view, the movie portrays the evolution and relationship of art with walls as a creative canvas, from the first graphic revolutions of the prehistoric caves to the most cutting-edge expressions of urban art.
Contemporary visual artists like Suso33, Zeta,...
In a statement, the festival said Saura’s injuries were not serious but he is no longer able to travel. The Walls Can Talk will still screen on Wednesday as planned as part of the festival’s Rtve Galas.
Produced by María del Puy Alvarado of Malvalanda, the doc is billed as Saura’s take on the origin of art and its relationship with the most avant-garde tendencies. Seen from the Spanish moviemaker’s personal and distinctive point of view, the movie portrays the evolution and relationship of art with walls as a creative canvas, from the first graphic revolutions of the prehistoric caves to the most cutting-edge expressions of urban art.
Contemporary visual artists like Suso33, Zeta,...
- 9/20/2022
- by Zac Ntim
- Deadline Film + TV
In most films, the sight of a slaughtered human body — weighed down at the bottom of a public swimming pool with blood gushing from its wounds — would be the most stomach-churning thing in any given scene. “Piggy,” however, is not most films. In Spanish writer-director Carlota Pereda’s striking psychological slasher, the image passes without comment in the background, so incidental that we briefly wonder if our eyes have deceived us. For we’ve already been rattled by the real violence of the scene: plus-size teenager Sara (Laura Galán) being gleefully and relentlessly taunted by svelte mean-girl bullies, who then attempt drowning her with a pool net for extra laughs. Small wonder Sara doesn’t notice the dead man in the water, or that we barely register it. Pereda’s viciously impressive debut uses standard genre shocks almost as macguffins; it’s the all-too-recognizable horror of brutalized adolescence that really makes us wince.
- 1/25/2022
- by Guy Lodge
- Variety Film + TV
Piggy follows a heavily bullied teen living in a small Spanish Town sees her tormenters kidnapped. Feeling grateful for the perpetrator who saved her, she refuses to tell police what she saw. Horror and social commentary are inseparable in Piggy, which tackles questions of justice and small-town morality. Below, cinematographer Rita Noriega emphasizes how she avoided aesthetics more commonly associated with thrillers and how the film has changed since its first incarnation as a short film. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired […]
The post “We Wanted to Avoid the Usual Thriller Look”: Rita Noriega on Piggy first appeared on Filmmaker Magazine.
The post “We Wanted to Avoid the Usual Thriller Look”: Rita Noriega on Piggy first appeared on Filmmaker Magazine.
- 1/24/2022
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Piggy follows a heavily bullied teen living in a small Spanish Town sees her tormenters kidnapped. Feeling grateful for the perpetrator who saved her, she refuses to tell police what she saw. Horror and social commentary are inseparable in Piggy, which tackles questions of justice and small-town morality. Below, cinematographer Rita Noriega emphasizes how she avoided aesthetics more commonly associated with thrillers and how the film has changed since its first incarnation as a short film. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired […]
The post “We Wanted to Avoid the Usual Thriller Look”: Rita Noriega on Piggy first appeared on Filmmaker Magazine.
The post “We Wanted to Avoid the Usual Thriller Look”: Rita Noriega on Piggy first appeared on Filmmaker Magazine.
- 1/24/2022
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
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