Directed by sebastian schindel (The Son, Family Crimes), The God’s anger It is one of the premieres that was most awaited for this half of the year. Just landed on Netflix became the most watched film in Argentina, leaving behind the success of the film Claw, starring Adam Sandler.
Diego Peretti (The robbery of the century, Echoes of a crime), Juan Minujin (The marginal, The two Popes) Y Macarena Achaga (Luis Miguel, the series) are the central protagonists of the film who play Kloster, Esteban Rey and Luciana, respectively. The film recounts the bond between the writer Kloster and her assistant (Luciana), who is forced to leave that job when the man goes too far with her. This is how Luciana’s nightmare begins, as she loses every member of her family in strange circumstances and becomes convinced that Kloster is responsible for her. In the middle of this process, she will seek help from the former writer Rey (now a journalist), who will try to prove that Luciana is correct. Here are the three keys that made this thriller become an overwhelming success on Netflix in just a few days.
“From dust we come and to dust we go.” Death says present in each of the scenes of The God’s anger. The extreme religiosity of Luciana’s family makes them take death as part of life without the drama that it entails. Each of the deaths are shown in a very graphic way. The drawer with the dead bodies entering the crematorium again and again is one of the scenes that reminds us that death surrounds us. We are all ultimately doomed to die.
How do you distrust a man with an excellent reputation who carries a tragic history on his back? This is how this man, Kloster, is presented to society. Far from being a charismatic person, he connects with his readers from the pain of having lost everything, such as the death of his wife and daughter. In this way, Luciana’s race to show that we are facing a sinister man is almost a losing fight from the beginning, since everyone has to deconstruct that image of pristine that Kloster manifests and possesses. Clever as few, the writer has everyone eating from his hand and no one suspects for a second of his possible responsibility. He manipulates each of the characters he comes across to his liking, and even manages to do so (for a few minutes) with the viewer.
The name of Schindel became synonymous with thriller. The previous films of him, The boss from 2013 and The son of 2019 (both starring the Argentine actor Joaquin Furriel), were the ones who presented this director as a creator of tension stories. his previous workFamily Crimes (starring Cecilia Roth, Sofia Gala Castiglione Y Benjamin Amadeo), also continued with the same line of psychological thriller. In this case, The God’s anger he returns to repeat those moments that become a trademark of his cinematographic works.