Pig is not what it seems – Weekend
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The hit of last year’s Sundance festival – “Pig” by Spaniard Carlota Pereda – is released in Russian hire. Body-positive horror, where a maniac intervenes in the relationship between the main character, who is overweight, and her peers mocking her.
Sarah (Laura Galan) is the daughter of a butcher shop owner whose customers have been lured away by a newfangled supermarket. Sometimes a girl goes hunting with her father, and the rest of the time she tries not to leave her parents’ house, as her peers mock her because of her weight. Hiding from the outside world behind a window of sausages and wearing headphones with love ballads, Sarah feels completely out of place: where she is not pestered by violent teenagers, the girl is subjected to the harsh care of her mother (Carmen Machi from Talk to Her) and the ridicule of her younger brother . When she finally decides to go to the outdoor pool, a peaceful swim turns into a new humiliation: armed with a net, three girls almost drown her in muddy waters, and then steal all her clothes.
Sarah’s powerful stress coincides with an emergency: the body of a drowned rescuer tied to a chair is found in the same pool. In addition, the waitress disappeared and, as it turns out later, the trinity of bullies. The town of the autonomous region of Extremadura is on the ears: this is the first murder in the history of a quiet place where the civil guard is used to solving problems like a runaway bull. At the same time, Sarah saw a silent kid (Richard Holmes), who kidnapped her offenders, but is afraid to admit that: a) she was in the pool; b) nearly died c) walked home in one bathing suit (and was again humiliated).
The feature-length solo debut of Spaniard Carlota Pereda, Mumps was one of the five most nominated films for this year’s Spanish Goya Awards – along with, for example, “Predators” And “Land of Alcarraz”. And depending on how the story is told, Pereda’s film can be seen as both a psychological nightmare of puberty and a slasher exploiting teenage misfortunes. If the first option is revealed in full growth almost across the scene, then the breath of bloody retribution carried by the mysterious stranger is constantly felt somewhere on the edge of the frame. Here, two varieties of suspense organically merge: from the languishing foreignness and from the invasion of the town of the Other (no wonder the role of the maniac went to the foreign artist Holmes).
That is why Sarah feels a strange closeness with the maniac, dreaming like in a hot nightmare: he, probably, is also thinking how to end everything. And if his painful rage finds an outlet in the murder of unpleasant passers-by, then the girl, with whom everyone she meets in one way or another, is trying to dig out the problem in herself. And he doesn’t find it, looking at corpulent parents, neighbors angry at the tongue or frostbitten peers, who are forgiven for everything for their harmony and youth, and beautiful eyes, it must be.
Pig has one more notable feature, in addition to the involuntary equal sign between unsolicited comments about appearance and the same sudden bloodthirsty guest. By pumping up a degree of nervousness and cruelty – including talking about hunting and bullfighting – Carlota Perida deceives those viewers who judge the film by its cover. There will be no Spanish chainsaw massacre, no bloody revenge in the literal sense – although the gun that the butcher father cleans in front of the TV, of course, will fire at the only moment appropriate for the plan.
Unsure of herself, frightened by every step and look, Sarah in the finale seems to be born again – despite the fact that she has to endure in the lair of a maniac, and even more so – at home and on the street every single day. In this one can see a fig for those who hope to rot the defenseless to a bestial state. Living with wolves is no reason to be like them.
In theaters from June 22
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