‘Mass’: Forgiveness and Guilt

One of the most interesting films of the year premieres, Youth Award at the San Sebastian Festival, whose apparent simplicity hides a jubilant acting

‘Mass’ is one of those commendable titles worth approaching without knowing anything, if at all, about the content. I wish I could afford the ticket without having any knowledge of what we’re about to see, something that’s practically impossible these days. Virginly going through the box office before a project is carried out is an arduous task that involves a certain sacrifice as a spectator. Therefore, the existence of personal festivals remains a necessary asset, not only to promote the culture and nurture the sector , but also to be able to taste cinematographic proposals to those we do not have a single record of or hardly resemble. Unsuspected, unexpected, surprising films, such as the premiere that worries us, about which it is difficult to make a statement beyond a few general lines.

Written and directed by a regular actor, curiously enough, in such notable horror projects as ‘You’re still the killer’, ‘Bloodsucking Bastards’ or ‘The Cabin in the Woods’, this gripping feature film debut from Fran Kranz is primarily based on dialogue. and in the acting of a main cast in a state of grace that holds the attention for nearly two hours without any change of location.

Kranz’s background as an actor is wide and varied. His more than two decades giving the callus include the Broadway stages, where he championed works such as “Death of a salesman.” His interest as a playwright stands out when it comes to writing precisely a drama in crescendo that initially plays to sow some bewilderment. Two married couples sit down to talk about their respective children, but we don’t find out the reason for the meeting until well into the footage. The bewilderment takes shape and is revealed as an evocative exploration of forgiveness and guilt.

Officially presented at Sundance, ‘Mass’ won the youth award at the San Sebastian Festival with a higher audience rating than any of the films presented in the Perlas section. Its apparent simplicity is its greatest virtue. We are faced with an important title, with a sober script, worked out and expressed with craftsmanship and creativity. Tense, at times suffocating, he carefully unfolds a careful mise-en-scene with the minimal elements, where every meaningless object is of great use. With a satisfying ending, their roles are embroidered by Jason Isaacs (“Harry Potter”), Martha Plimpton (“The Goonies”), Reed Birney (“The Hunt”) and Ann Dowd (“Hereditary”). People talking and engaging.

Source: La Verdad

Michael

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