A plot device that has been played both for comedy ('The Caucasian Chalk Circle') and melodrama ('Days of Heaven') is here combined with the narrative twist usually attributed to 'Rashomon', although it actually dates back well into the silent era; at least as early as John Stahl's 'The Woman Under Oath' (1919).
Directed for all its worth by Juan Bustillo Oro with abrupt optical wipes and dollies rather creakily executed with the rather basic facilities available to him; it boasts an extraordinary hallucination sequence near the end for which all the cast wear masks.
Directed for all its worth by Juan Bustillo Oro with abrupt optical wipes and dollies rather creakily executed with the rather basic facilities available to him; it boasts an extraordinary hallucination sequence near the end for which all the cast wear masks.