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Yokai
Chile 2014
produced by Cristobal Echevensko, Francisca Sfeir
directed by Cristobal Echevensko
starring Francisca Sfeir, Diego Suazo, Ryotsu Orellana, Daniela Echenique, Pelusa Trincado, Constanza Echeverría, Paula Dominguez, Valeria Suarez, Pilar Dominguez, Andrea Hubber
written by Cristobal Echevensko, music by Edgardo Cantón Aguirre, special effects by María Paz Dominguez, visual effects by Tomás Echeverría
review by Mike Haberfelner
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Lidia (Francisca Sfeir) is in desparate need of money to pay for her
sister Rocío's (Daniela Echenique) medical treatment, so she persuades
her boyfriend Juan (Diego Suazo) to break into her jeweller boss Yokai's
(Ryotsu Orellana) home as he keeps a diamond worth a fortune there. Now
breaking in and getting their hands on the diamond isn't that much of a
problem, but then Yokai arrives home unexpectedly with a prostitute
(Pelusa Trincado), whom he murders, right before Lidia and Juan's very
eyes, who then make a hasty getaway, but are seen by Yokai. And what's
worse, they have somehow lost the diamond at Yokai's place. Now of course,
Yokai can't go to the police because of the murdered prostitute, but not
knowing that Lidia and Juan have lost the diamond in his house, he demands
it back, and makes a slightly threatening visit to Rocío to make his
point. But he makes Lidia an offer, she comes to him dressed up as a
prostitute, puts on a little show for him, returns the diamond, and all is
forgotten. Thing is, Yokai freely admits he's having a thing for killing
prostitutes. Lidia still agrees to Yokai's terms, as she has a scheme of
her own, put on a show and kill Yokai in the process, then retrieve the
diamond and live happily ever after. The one thing she has overlooked
though is, Yokai isn't one to be easily tricked ...
Yokai is quite the odd movie: It starts out as your
typical comedy about small fry crooks who take on a job too big for them
and bumble through it ... until of course things take a darker turn with
the prostitute killing and subsequent villainy of Yokai (whose face is
never really shown - to very creepy effect), steering squarely into horror
territory. And that the film never totally loses its humour, only makes it
darker by the minute really only adds to the creepiness - as does a
no-frills directorial effort, and solid performances by all involved. Quite
unsettling for sure, but in a good way!
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review © by Mike Haberfelner
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Robots and rats,
demons and potholes, cuddly toys and shopping mall Santas,
love and death and everything in between,
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Tales to Chill Your Bones to
the new anthology by Michael Haberfelner
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