Using no direct dialogue, Nacho Cerda employs pure cinematic technique to create a horror powerhouse in AFTERMATH.
There is no plot, just a sequence of events leading up to the "rape" and desecration of a female corpse.
Mozart's "Requiem" accompanies the imagery.
Once again, as is common with films of this nature, sound design plays a large part in the film's effectiveness. I say "once again" because we have a pattern here. Strong, potent films by the likes of directors such as Gasper Noe (IRREVERSIBLE), Ruggero Deodato (CANNIBAL HOLOCAUST), Yasaharu Hasebe (ASSAULT JACK THE RIPPER), Augustin Villaronga (IN A GLASS CAGE), and now, Nacho Cerda, are notable for the acutely attuned, aural instincts of their highly talented creators.
AFTERMATH is a beautiful film, a gorgeously crafted gaze into the world of necrophilia and loneliness.
Cerda's GENESIS is equal in its technical department, but it lacks the power of its predecessor.
The additional, non-Mozart music cues, are simply perfectly placed and emotionally fierce.
