Synopsis
In a strange world where people share numerous deformities, the same problem we all face challenges each of them: to find someone who accepts you as you are. Sometimes, that means finding yourself first.
Skins
2017 ‘Pieles’ Directed by Eduardo Casanova
Cast
Ana Polvorosa Carmen Machi Macarena Gómez Candela Peña Jon Kortajarena Secun de la Rosa Joaquín Climent Antonio 'Morris' Durán Itziar Castro Ana María Ayala Eloi Costa Enrique Martínez Carolina Bang María Jesús Hoyos Lle Godoy Alberto Bang Javier Bódalo Mara Ballestero Nacho Braun Carme Juan Reme Gómez Jose Luis Madariaga Campos Adolfo Fernández
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Additional Directing
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Cinematography
Additional Photography
Production Design
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Makeup
Hairstyling
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Alternative Titles
Peaux, あなたに触らせて, スキン あなたに触らせて, Pieles - Du kannst nicht aus deiner Haut, Pelle, スキン～あなたに触らせて～, 피부, Peles, Кожа, Deriler, 肌肤
Popular reviews
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Woah. haven't seen this much slimy pink and purple since I stuck my head up someone's ass
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I admit of my own guilty pleasure received from this film.
It's aesthetically beautiful, when it shouldn't be. Lots of soft pinks and purples intermingle in vast solitude alternating from scene to scene.
The prosthetics are genius and fit the story perfectly. If you're disgusted by this, it is because of you're lack of understanding. We are the thugs in the alley way raping the deformed. We treat others differently just by the way they look not because of who they are. Rephrasing a person with dwarfism, "I'm proud of it. I don't suffer from it, but I do suffer from the way society treats me."Although, the story can be seen as over the top and unrealistic while being…
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Wow.
Se suele decir que, en el cine, ser raro es facilísimo y ser fascinante es lo más complicado. Para ser raro solo tienes que hacer cosas raras, para ser fascinante hay que elaborar una composición muy precisa que despierte sensaciones en el espectador. Pieles es una película rara que quiere ser tan rara todo el rato que al final todo se convierte en una gran gilipollez. No sé si veré algo peor este año, pero Casanova lo ha puesto difícil. Gracias por elevar el listón de la vergüenza ajena.
Lo más interesante del visionado ha sido cuando, en la oscuridad de mi buhardilla, una mota de polvo ha pasado por delante del televisor y ha hecho una parábola espectacular. Me ha distraído durante tres gloriosos segundos del bochornoso espectáculo que estaba presenciando.
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Is this film a commentary on how an exclusionary society objectifies, infantilises, manhandles, and patronises its differently abled subset, or is it an exploitative film that aestheticises disability under an ableist gaze? Some questions may never be answered.
The most problematic element of this film is not the depiction of differently abled people in itself; rather, it is the fact that the film’s director, writer, and cast are all physically abled. An argument could be made that a differently abled director may choose to aestheticise disability in order to reclaim the cultural valuation that society inscribed to individual’s physical selves; however, the fact that the gaze of the film at all times is abled rather than disabled, these efforts appear to be gratuitous and exploitative.
In conclusion, some films are better not being made and this film is a perfect example of one.
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This was like a foreign Wes Anderson film meets Coraline in a pastel nightmare.
As someone who will watch just about anything, I’ve seen my fair share of disturbing images. None of them seem to compare to this film though. In some strange way I think I enjoyed this way too much, but WHY HAS NOBODY TALKED ABOUT THIS OR IS TALKING ABOUT THIS UHMM— this just makes me even more excited for spooky szn.
In all seriousness though— what a pleasant surprise this movie was. It’s an ensemble piece that deals with love, beauty, and how we come to terms with both. Repulsive at times, this was like a study on why we love the way we do. Is…
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I think it’s time we legally ban people on Tik Tok who watch, at most, five movies a year from recommending movies they find “disturbing” that they discovered while scrolling through Netflix.
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Shock value alone does not make for a compelling movie. And filling your movie with gratuitous grotesque visuals and puddle-deep metaphors sure as hell does not make for a fun time.
This is a film that believes itself to be far greater than it is, thus hurting itself even more than it could with its already weak everything else, specially its atrocious editing.
Colors and makeup were the only salvagable pieces of this dumpster fire of a movie.
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