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LOS OJOS SIN CARA

Georges Franju Francia, 1960
Harrowing and disturbing, the film is also well ahead of its time in terms of its visual effects—especially in its surgery sequences, which are excruciatingly convincing even today.
octubre 29, 2015
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A welter of ineffable effects (the languid slouch of the lifeless figure in the backseat of a car, a visit to the cemetery interrupted by the soft whoosh of an airplane, a placid fireplace suddenly inflamed by a chloroformed rag) comprises Franju's tessitura of cruelty and lyricism, a camera that can gaze at a gruesome face transplant with something like nightmarish serenity.
octubre 26, 2015
Franju doesn't set out to transcend the genre, but instead to eliminate its usual stupidities and to heighten its typical moods. Hence the scenes which make it clear that both Genessier and Louise are weighed down by the burden of their inhuman work, and hence, too, the climactic equation of madness with liberation. Probably not a masterpiece in the broader scheme of things but indisputably a genre classic, and as resonant and disquieting as it was 55 years ago.
septiembre 7, 2015
3:AM Magazine
Franju's feature films carry on that strain in French cinema that begins with the poetic realism of [Vigo's films] and continues in the 30s and 40s with the moody industrial grisailles of Carné's Le Jour se lève and Quai des Brumes. Nowhere is this combination of the probing of the realism of everyday life and startling Surrealist imagery more evident in Franju's oeuvre than in Eyes Without a Face, a film which possesses a rare ability to extract emotion from horror and poetry from the banal.
abril 28, 2015
Eyes Without a Face has its share of scares, but its overall effect is of the haunting variety... [The] final image, and all the possibilities it portends, lingers, haunts. Where will this poor, tragic disfigured girl go? We'll never know.
octubre 27, 2014
Despite its intriguing concept, however, Eyes Without a Face is less about story or plot mechanics and more about the atmosphere Franju is able to conjure with but a few aesthetic tools at his disposal. Effective horror filmmaking is, in a sense, evidence of the optimization of a limited palette, but even still, the aura that Franju realizes from little besides a blank white mask, some deep shadows, and the sterile surface space of Génessier's operating chamber is impressive.
octubre 16, 2013
Eyes Without a Face, for all its intermittent camp and occasional absurdity, conveys the conviction of an artist who's tasted the horror of the 20th century and has something to tell us about its flavor.
noviembre 24, 1995
Libération
Hot cockles games don’t interest him. He prefers letting the objects become both characters and spectators. Characters since they have a role to play (the 2CV runs) and spectators since they are witness of unspeakable horrors (there’s often a dead body on the back seat of the tragic 2CV). That’s Franju’s poetic art.
septiembre 25, 1986