@farah_popcornSimón Andreu and Tony Fuentes are the two names up top, but the whole thing hinges on Eduardo. He's a banker with money and a closet he never steps out of, and Eloy de la Iglesia points the camera right at that gap. 1977, Spain, mid-transition, and here comes a film that refused to keep quiet about homosexuality. Eduardo falls for Miguel, who's younger, working-class, and straight, and what should just be a crush curdles fast into jealousy, manipulation, and a slow emotional demolition. The script keeps circling obsession, class, loneliness, and the kind of wanting you're not allowed to name. It's less a love story than a portrait of a man split between what he feels and what society tells him to bury, and the fallout of that repression is the whole point. Possessive love doesn't get a happy ending here, and the movie knows it #MovieClips

@farah_popcornSimón Andreu and Tony Fuentes are the two names up top, but the whole thing hinges on Eduardo. He's a banker with money and a closet he never steps out of, and Eloy de la Iglesia points the camera right at that gap. 1977, Spain, mid-transition, and here comes a film that refused to keep quiet about homosexuality. Eduardo falls for Miguel, who's younger, working-class, and straight, and what should just be a crush curdles fast into jealousy, manipulation, and a slow emotional demolition. The script keeps circling obsession, class, loneliness, and the kind of wanting you're not allowed to name. It's less a love story than a portrait of a man split between what he feels and what society tells him to bury, and the fallout of that repression is the whole point. Possessive love doesn't get a happy ending here, and the movie knows it #MovieClips