Recreating bygone eras is a tricky business. Most attempts suffer one major drawback – try as they might, they just aren’t the genuine article. A way round this is to nail every little detail, from the font of the opening titles right down to the special effects. This gives people the impression they really are watching something from the time of grainy VHS and good old-fashioned slasher antics.
Crystal Eyes (Mirada de Cristal) pulls off that trick, but goes one better and creates something entertaining and inspired in its own right. Writer/directors Ezequiel Endelman and Leandro Montejano have crafted a fiendishly simple homage that stays absurd throughout without veering into spoof territory.
When drug-addled supermodel Alexis Carpenter (Camila Pizzo) dies during a fashion show, the emptiest of industries in mid-80s Buenos Aires tries to fill the void. To this end a tribute is planned, which in effect is a clambering exercise for models looking to take the top spot. But there’s a crazed killer at large offing the glitterati in various and visceral ways. It could be any number of the shallow, vindictive and memorable “personalities” on display. Or it could be Alexis herself, risen from the grave with a Giallo-fuelled grudge.
Despite the genre trappings (which the filmmakers revel in) the action has some unusual touches worthy of David Lynch, though in a league of their own. The title track alone is barmier than a box of frogs with lipstick on, part of Pablo Fuu’s synth wave soundtrack which exists on permanent overdrive.
Everyone is acting like they’re in a telenovela, spouting a raft of exposition-heavy dialogue so judging the performances is pointless. Endelman and Leandro Montejano have a real eye for vivid characters and the small touches they introduce are fantastic. At one point a character walks around in heels having just got out of the shower, and a strategically-placed stone backside also raises a chuckle amongst the chills. The malevolent protagonist (played by the brilliantly-named Issis Trash) is creepy yet ludicrous and the action plays out against the backdrop of stylized sets, grimy basements and old architecture.
Every so often you can see the film is shot on digital but given the Eighties pop video vibe that’s a quibble. You could also argue this is more an overextended sketch than anything, but I was truly taken with it.
For casual viewers the nature of the film will be irrelevant, but hopefully they’ll be drawn into what for me was quite a unique mix of elements. Crystal Eyes is a blast and one of the best evocations of the era I’ve seen. A minor triumph and an instant cult classic.
This review first appeared on THN.