Taking Freaks (1932) and The Elephant Man (1980) as starting point, Eduardo Casanova's debut runs essentially in a very superficial way: A set of scenes remarkable for their delicacy in the composition and for the joy of pink, comprises a "late baroqueer" Cabinet of Curiosities.
It's a movie with a very bold language that talks about desire and suffering, loneliness, about what is erotic and what disgusting, about the monstrosity in the meaning and shape.
About accepting oneself and the right to replace our limits with new ones. The contradictions that produced the subjectivity of beauty.
"You're only interested in the way I look" says one of the female characters. In this context it is a brilliant paradox.
Superficial, I said, and frivolous: Very Louis XV style. But no superfluous. The dramatic central dialogues give depth and direction to the film. Its non-correct spirit and daring language make it one of a kind.
Review of Pieles
