I hadn't heard or seen anything about this movie before I saw it sitting on the DVD shelf of my local library, let alone have an idea what it was about. I was lured by the awards it had advertised on the cover and ambiguous statement, 'If you were to sell your soul what would you ask for?' I have no answer to the question but I'm pleased I parted with £1.50 to see this movie.
It is based on the Faustian legend that the central character's pact with the devil allows him to have energy, life and youth unless he becomes so entranced by the passing moment that he wishes that things will never change. When Faust succumbs unthinkingly into that wish, his life is forfeit to a demon. In this adaptation the central character Dr Fausto (Miguel Ángel Solá), a specialist doctor of terminal medicine, who has lost his zest for life working constantly with people on the brink of death. While attending a conference in Barcelona, he runs into the mysterious (and hilarious) Santos Vella, pronounced 'Vela', as in 'mozzarella', played by the excellent Eduard Fernández, a man who claims to have once been treated by Fausto but which Fausto has no recollection of. He follows Fausto everywhere and knows everything about him, using his wit and humour to make a bold pact with Fausto and reintroduce him to youth and fun and his daughter Marta (Irene Montalà). When Fausto abuses the pact with Vella, his life starts dismantling with horrific and explicit consequences and nightmares, such as dogs eating at his stomach, being arrested and the demon threatening to harm his medical assistant, Julia (Najwa Nimri).
The plot builds quickly and mysteriously through a blend of strange characters, such as the old woman on the train and the rail kill being hauled off the front train at the station, and psychedelic editing (which looks both original and a throw-back to cheesy 70s horror flicks). It keeps you hooked, especially the acting by Fernández, who comes across full of life and witty as the demon, towards the cold Dr Fausto, Solá. Both actors looked involved in the roles and came across frighteningly realistic as the plot evolved. The sets were also detached and chilling, which added to the suspense, such as the nightclub they go to, with the crazy naked women chained upside down and dancing to the hardcore rock music. It reminded me a little bit of the scenes in Fight Club. The sound affects when Fausto tears open the body at the lecture is sickeningly realistic and the music was jagged and sharp to add to the apprehension. There are very humorous scenes as well, such as smashing up the living room with a golf-club and the funny quips.
It was well directed by Álex Ollé, Carlos Padrisa and Isidro Ortiz. The plot flowed smoothly and the performances and the sets were flawless. However, the writer Fernando León I thought was trying his best to make the film more strange than he had to. For example, the girl Margarita who Fausto has sex with has blue arms why? And why is it called Fausto 5.0? There's no explanation to this in the story and I think there's a few red herrings to try and throw people unnecessarily off course. Then again, it could be the director achieving what he wanted; for you to keep guessing. I know I still am. The film was out to shock, which happens quite often in Spanish movies. There's often an empty feeling, a detachment between the audience and the characters, which is both interesting and keeps you thinking about the plot for days afterwards. It's a unique trend in Spanish cinema, and Fausto 5.0 is a prime example. Dreams also feature a lot in Spanish cinema. Take Abre Los Ojos for example, which was also surreal and strange and ended up being one great nightmare. Along with Abre Los Ojos, there is a hint of Requiem to a Dream and Fight Club, due to the fact the characters in the films are on the edge of life and they include horrors and sci-fi elements and are all well-made.
I give this film eight out of ten. I was hooked, it was original, brilliantly acted and excellently made. Fans of sci-fi/horror movies will love it. I'm not particularly but I really enjoyed it. If the writer had been a little less pretentious with the weirdness, it would have received an extra mark.
It is based on the Faustian legend that the central character's pact with the devil allows him to have energy, life and youth unless he becomes so entranced by the passing moment that he wishes that things will never change. When Faust succumbs unthinkingly into that wish, his life is forfeit to a demon. In this adaptation the central character Dr Fausto (Miguel Ángel Solá), a specialist doctor of terminal medicine, who has lost his zest for life working constantly with people on the brink of death. While attending a conference in Barcelona, he runs into the mysterious (and hilarious) Santos Vella, pronounced 'Vela', as in 'mozzarella', played by the excellent Eduard Fernández, a man who claims to have once been treated by Fausto but which Fausto has no recollection of. He follows Fausto everywhere and knows everything about him, using his wit and humour to make a bold pact with Fausto and reintroduce him to youth and fun and his daughter Marta (Irene Montalà). When Fausto abuses the pact with Vella, his life starts dismantling with horrific and explicit consequences and nightmares, such as dogs eating at his stomach, being arrested and the demon threatening to harm his medical assistant, Julia (Najwa Nimri).
The plot builds quickly and mysteriously through a blend of strange characters, such as the old woman on the train and the rail kill being hauled off the front train at the station, and psychedelic editing (which looks both original and a throw-back to cheesy 70s horror flicks). It keeps you hooked, especially the acting by Fernández, who comes across full of life and witty as the demon, towards the cold Dr Fausto, Solá. Both actors looked involved in the roles and came across frighteningly realistic as the plot evolved. The sets were also detached and chilling, which added to the suspense, such as the nightclub they go to, with the crazy naked women chained upside down and dancing to the hardcore rock music. It reminded me a little bit of the scenes in Fight Club. The sound affects when Fausto tears open the body at the lecture is sickeningly realistic and the music was jagged and sharp to add to the apprehension. There are very humorous scenes as well, such as smashing up the living room with a golf-club and the funny quips.
It was well directed by Álex Ollé, Carlos Padrisa and Isidro Ortiz. The plot flowed smoothly and the performances and the sets were flawless. However, the writer Fernando León I thought was trying his best to make the film more strange than he had to. For example, the girl Margarita who Fausto has sex with has blue arms why? And why is it called Fausto 5.0? There's no explanation to this in the story and I think there's a few red herrings to try and throw people unnecessarily off course. Then again, it could be the director achieving what he wanted; for you to keep guessing. I know I still am. The film was out to shock, which happens quite often in Spanish movies. There's often an empty feeling, a detachment between the audience and the characters, which is both interesting and keeps you thinking about the plot for days afterwards. It's a unique trend in Spanish cinema, and Fausto 5.0 is a prime example. Dreams also feature a lot in Spanish cinema. Take Abre Los Ojos for example, which was also surreal and strange and ended up being one great nightmare. Along with Abre Los Ojos, there is a hint of Requiem to a Dream and Fight Club, due to the fact the characters in the films are on the edge of life and they include horrors and sci-fi elements and are all well-made.
I give this film eight out of ten. I was hooked, it was original, brilliantly acted and excellently made. Fans of sci-fi/horror movies will love it. I'm not particularly but I really enjoyed it. If the writer had been a little less pretentious with the weirdness, it would have received an extra mark.