The Thorn of the Rose (2013)
Prosecuting Attorney David Lunga's success is overshadowed by the terrifying secrets of Rosa, a beautiful but mysterious woman with whom he falls in love. What mysteries does she hide? As the macabre facts unravel, David comes face to face with his own demons and is driven to prove his innocence, recover his reputation and, above all, clear his own conscience.
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Good story, Not enough for a whole film
It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.
Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.
An old-fashioned movie made with new-fashioned finesse.
I saw O Espinho Da Rosa (The Thorn of the Rose) at ZIFF. It is a mystery-horror film with socio-political undercurrents, by first-time filmmaker Filipe Henriques. Not bad but not that excellent to win awards!One thing that every horror movie has in common, and that is the lack of common sense, lack of survival instinct of the characters. The film handles it okay but not quite well.The down-side of the film is the added romantic overtone, too much screen-time focus on characters'beauty, to cover the not-sustained tension, which in turn overpowers the mysterious theme that the film is intended to sell to its audience. The filmmaker attempts to make the mysterious twists revolve around the misunderstanding between the characters, but it is not believable, due to lack of acting-directing synchronization. Furthermore the director puts too much focus on the romantic scenes. He could have trimmed some of them out, and the film would be better.The Exorcist films work no matter how many times they remake them because of effective use of tension. It must be efficiently and effectively built to keep the audience engaged. The actor's /actress' beauty only covers up these flaws for a short time. Then, the other components in the film fail to keep the audience in suspension of disbelief. The filmmaker could have used the cognitive estrangement of its target audience to promote suspension of disbelief.In horror-mystery films, the characters must gather their courage to venture into the unknown. The unknown plays into our most basic root of fears: the dark, the unknown, the forbidden. Stepping into the darkness is universally recognized as scary. The imagination tends to run wild in the dark. The film has many dark moments but not all of them are good for tension buildup. A good director would capitalize only the needed ones. The rest could be even cut out in the director's shooting script rewrites, even if the writer has them in the original script.