The Ancines Woods

El bosque del lobo presents an ambitious psychological portrait that struggles beneath the weight of its own folkloric pretensions. The film focuses on Benito Freire, a lonely and miserable peddler whose world is dominated by ignorance and superstition, yet the execution feels more labored than haunting. While the Galician countryside provides a suitably oppressive backdrop, Olea's direction often favors heavy-handed symbolism over genuine atmosphere, creating a work that feels intellectually constructed rather than emotionally lived.

José Luis López Vázquez delivers a committed performance as the tormented Benito, bringing genuine pathos to a character caught between medical reality and supernatural hysteria. He is dedicated to peddling by the Galician towns and suffers severe attacks of epilepsy, and López Vázquez effectively conveys both the physical anguish and psychological deterioration of his protagonist. The supporting cast, including Amparo Soler Leal and Antonio Casas, provides solid work within the confines of somewhat archetypal roles, though their characters remain more symbolic than fully realized.

The cinematography captures the bleakness of rural Spain with appropriate moodiness, employing shadowy interiors and mist-shrouded landscapes that should theoretically enhance the film's Gothic sensibilities. However, the visual storytelling often feels derivative of other European art films of the period, lacking the distinctive voice that might elevate the material beyond its literary origins. The picture is based on the true-life story of Manuel Blanco Romasanta, the traveling vendor, who confessed to the murders of thirteen people, using their body fat to make soap, yet the historical foundation becomes lost in overly stylized presentations.

Where the film succeeds is in its exploration of how collective paranoia can destroy an individual, but where it falters is in its pacing and tonal inconsistencies. Through the region begins to spread the rumor that he is a werewolf and that he is possessed by a demonic spirit, and this psychological transformation should provide the film's dramatic core. Instead, Olea's approach feels more academic than visceral, examining themes of alienation and madness through a lens that distances rather than engages the viewer.

The film's treatment of epilepsy as a source of supernatural suspicion offers interesting social commentary, but the execution lacks the nuanced understanding that might make such material genuinely compelling. While "El bosque del lobo" demonstrates technical competence and features a strong central performance, it ultimately feels like a missed opportunity to create something truly memorable from its rich source material.

Ah, Galicia... Known for its beautiful landscapes and mountains, the world-famous pilgrimage to Santiago de Compostela, and the bittersweet song by Julio Iglesias that honours the region! What Galicia is perhaps a little less proud of is that it was also the birthplace and working turf of Spain's first documented serial killer Manuel Blanco Romasanta. And it was immediately a very special serial killer, because Romasanta used the excuse that he suffered from clinical lycanthropy when he was arrested, and that he could not actually be held responsible for the murders committed as a werewolf.

So much for the little history lesson that you can also read on Wikipedia, because here we cover the magisterial and extremely respectful (for both victims and culprit) folklore horror/drama film that director Pedro Olea has made about this dark page of Galician history.

It feels strange to see a Spanish horror production from the early 1970s with the word "Lobo" in the title. Why? Because the Spanish exploitation/horror demigod Paul Nashchy had monopolized the entire werewolf business during this period, of course! Between 1968 and 2004, Naschy made a whole cycle of "Hombre Lobo" films featuring the character of Waldemar Daninsky as a martyr in the shape of a Wolfman. In terms of plot, atmosphere, style, and shlock-value, "El Bosque Del Lobo" cannot be compared to Naschy's work at all, let that be clear.

José Luis López Vásquez, who I also found brilliant in "La Cabina", stars as Benito Freire (the names of victims and culprit have been changed). He is an traveling salesman who is very popular in the small Galician villages, and he earns some extra money by guiding people from region to region through difficult mountain passes and inhospitable regions. Some of these travelers never arrive at their destination, but their relatives don't know, because Benito sends their regards and writes letters in their name. Benito himself also suffers enormously from his "irresistible urge" to kill, and the screenplay certainly suggests that Benito firmly believes that he carries a curse with him.

"El Bosque del Lobo" is a very compelling and beautifully made film that honestly deserves more recognition and fame. The pace is slow, but this is in favor of the tension building and gives the viewer a genuine opportunity to develop compassion for both Benito and his victims - including children - who often die gruesome deaths. Pedro Olea also very efficiently emphasizes the sign of the times and the circumstances in which the story takes place. People live in poverty. There is little food, and filthy flies literally hang around the people's heads, the priest is the most influential figure in the village, and justice eventually comes through an angry crowd with torches and pitchforks.

Top film. Fascinating true crime. Time for me to seek Paco Plaza's 2004 film "Romasanta", which is based on the same serial killer.

I saw this for the first time few days back immediately after reading a glowing review by Coventry. The review souded a bit similar to the recent Korean thriller Revelations which I enjoyed. After viewing i found the commonality was sympathy towards the killer due to his medical condition n people's ignorance.

Also both the films showcased the dangers of childhood trauma.

Another good thing in both the movies is that we feel empathy towards the killers due to their performances, of course the medical condition is the real deal.

In this movie José Luis López Vázquez as the peddler is very convincing and his performance gives the film an air of tragedy.

The movie tells the story of Romasanta, a 19th century, peddler who in real life claimed to have suffered lycanthropy as an excuse for the murders he committed.

If cinema is about moving your mind to another time or space, then this film is a masterpiece. Today, when you see an historical movie (at least an Spanish one), you can't help perceiving it just like several xxi century guys acting disguised like people of ancient times, but when you watch this movie you are literary moved 100 years ago, far way from your everyday life, and you can feel very well the darkness of these times, when the barrier among superstition and reality was confuse and someone like the mean character of the film, a miserable man unable to control his criminal impulses, could be confused with a "lobisome" (werewolf). In the other hand, on the contrary of most of American films, there is not unnecessary violence on this one and even when Benito Freire (the werewolf) is an assassin, as the film is going by you can just feel sorrow for him.

A traveling vendor, Benito Freire : Jose Luis López Vázquez, rolls through the forest causing a criminal spree . He seems to be a kindly , good man , loved by the villllage priest : Antonio Casas , but he's also the monster feared by all. Along the way , Benito dedicates to peddling across villages and towns and while suffering serious epilepsy attacks , and there's an intense rumor that spands here and there, as he's reportedly possessed by demonic forces .Then, people are disappearing , mutilated cadavers present surgical cuts along with savage gashes , giving way to the legend of Werewolf .

Highly engrosssing terror-mystery flick displaying drama, suspense and social habits from Galicia region. The frightening story starts well and grows more and more until a downbeat finale . It is some different , packing Galician legends and actual events with clear remarks to a killer character who really existed .Filmmaker Pedro Olea shows compellingly the Galician social customs in XIX Century , a hard environment dominated by envy , ambition and misery .Interesting script by Juan José Porto who was actually a descendant of Romasanta/Benito Freire's advocate at law . Being based on the novel El Bosque de Ancines or The Ancines Woods by Carlos Martinez Barbeite .Here stands out the awesome acting from starring Jose Luis López Vázquez as the unsettling and deranged peddler Freire. Being accompanied by a plethora of familiar faces , such as : Amparo Soler Leal ,Antonio Casas , Nuria Torray, Víctor Israel , Maria Vico, Rafael Hernández, Alfredo Mayo, Imma de Santi, Fernando Sánchez Polack , among others .It displays an atmospheric cinematography by cameraman Aurelio G. Larraya, showing splendidly the lush Galician forests .As well as evocative soundtrack including folk , traditional music by Antonio Perez Olea .

The picture is based on the true-life story of Manuel Blanco Romasanta , the traveling vendor, who confessed to the murders of thirteen people , using their body fat to make soap. Romasanta was tried in Állariz in 1852 and avoided capital punishment by proclaiming he was a werewolf . Being judged and condemned by Audiencia Provincial Coruña. He is deemed to be the first and only case of Spanish Licantropy . In similar facts was shot in 2004 "Romasanta : The werewolf Hunt" by Paco Plaza with Julián Sands , Elsa Pataky , Maru Valdivieso.

El Bosque Del Lobo 1970 was competently directed by Pedro Olea ,in his second picture . His first one was Dias de Viejo Color . After that , for six years , Pedro Olea dedicated in advertising and documentary as "Guernica" , "River of Bilbao" and TV series as "Cuentos y Leyendas" and other about Basque themes . With "Un Hombre llamado Flor de Otoño" , Pedro Olea returns to shoot , thanks to subsidy of the Basque government . Subsequently , he made a trilogy about Madrid : "Tormento", "Pim Pam Pum Fuego" and "La Corea" . But his biggest hit were "A Man Called Flor de Otoño" with Jose Sacristan and "Fencing Master" or El Maestro de Esgrima with Asumpta Serna . He also directed "Bandera Negra" about gun smuggling and a military thriller : " Morirás in Chafarinas" . And Olea made two movies dealing with witchery : " La Leyenda del Cura de Bargota" and " Akelarre" . While "El Bosque del Lobo" 1970 is considered to be one of the best films in his prestigious career .