Igor Legarreta, Jon Sagala
Josean Bengoetxea, Haizea Carneros, Itziar Ituño
Ibon Cormenzana, Ignasi Estape, David Naranjo, Sandra Tapia, Jerome Vidal, Koldo Zuazua
As war rages through 1876 Spain, an orphanage is bombed and a young girl (Haizea Carneros) is gravely injured. She is rescued by a woman (Itziar Ituño) whom she perceives to be an angel, and who heals her wounds, while telling the girl she must now avoid the daylight. She also promises the girl that she will see many more full moons, and when more soldiers attack, they are forced to flee into the wilderness. The two become separated, and the girl is forced to take shelter, facing an uncertain future – and one that will last far beyond that of ordinary human beings.
This synopsis only covers the first act of ALL THE MOONS, the better for you to discover its many dramatic turns for yourself. Filmax, the purveyor of any number of Spanish fright favourites including THE NAMELESS (Fantasia 2000) and [REC] (Fantasia 2008), returns in a big way with this captivating and heart-rending variation on the vampire genre. Director Igor Legarreta, who scripted with Jon Sagala, matter-of-factly employs the tenets of the form as the basis for an intimate epic dealing with themes of life and death, love and loneliness, devotion and intolerance. At its centre is a remarkable and, for long stretches, wordless performance by young actress Carneros, demonstrating depth beyond her years as her character (who comes to be named Amaia) struggles with, confronts and eventually attempts to transcend her unearthly existencer. With both familiar sights given fresh contexts and a number of original variations (such as a beautiful sequence in which the girl overcomes one of vampires’ traditional weaknesses), the impeccably crafted ALL THE MOONS takes its place among the best of the bloodsucker films. – Michael Gingold
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