The Night of the Sunflowers (2006) User Reviews

Taut Thriller With The Spanish Sunflowers

[benjamin_lappin · 8/10 · 16 March 2008]

A hugely entertaining and thoroughly enjoyable experience, The Night Of The Sunflowers is a Spanish thriller which hallmarks the great traditions of European cinema, where a focus on characters and their interactions with each other is the prime driving force. Set in a secluded and seemingly serene Spanish village "Sunflowers" weaves a sinister tale of mistaken identity, love, hate and murder, which can only be described as compelling viewing.

What the director Jorge Sanchez-Cabezudo is immediately noted for is his character development within the context of a story. 'Sunflowers' shifts its pace half through way throughout the film from murder intrigue to an entangled web of deceit, but all of this is shown and felt via the superb usage of the varied acting talents at his disposal. Cabezudo knows precisely what he is trying to achieve and does so with an assurance of a director with plentiful more experience, suffice to say his debut is impressive.

Shot in a partially non-linear fashion it manages to portray, through chapter-styled segments, how each particular protagonist, and/or antagonist comes to be involved in this situation, providing for a greater well rounded feel and sense of fulfilment come the films finale.

What is striking, though, is the theme of fractured relationships which runs vividly and often poignantly throughout the course of the film. The archaeologist and his wife and the untold issues they have who are 'seemingly' brought closer together as the shocking ordeal continues, the police deputy and his wife as he struggles through what he perceives to be a turgid and boring existence, and how he is unable to escape the restrictions imposed by his superior, and father-in-law, in all regards. Not just these, but the dealings of the elderly gentlemen on the outskirts and their eternal war of attrition, and even the title itself carries connotations of opposites being juxtaposed, The "Night" of the "Sun"flowers.

The key issue revolves back to a notion of people becoming so infused and becoming so embroiled with their own side-stories, that in turn the key moment of the film is entirely forgotten. What Cabezudo intelligently points out is how we all can become distracted from what is important, that something so explosive came out of initially something so small that it makes you query characters; 'if they had done that', 'if they had done this' it wouldn't have happened. The Night Of The Sunflowers is a frighteningly intelligent, bordering on complex piece of theatre which is cleverly constructed and undoubtedly absorbing upon viewing, that actually gives the audience credit as being somewhat able to put pieces together. It is a truly good Spanish thriller that tackles not only conspiracy and murder, but the people that put themselves into these positions, and allow them to only continue and fester, becoming embroiled in revenge over justice. Whether it be the Sunflowers, roses, tulips or poppies, this is one night worth staying up for.

A thriller that queries: Where do sunflowers face in the night?

[JuguAbraham · 7/10 · 26 April 2008]

"When the sunflower plant, Helianthus annuus, is in the bud stage, the head and the leaves do indeed track the path of the Sun. The genus name Helianthus is from the Greek helios "sun" and anthos "flower". Interestingly, however, and contrary to popular belief, once the massive topmost flower opens into the radiance of yellow petals, it slows and then stops moving, ending up permanently facing east." ---Solar flower, New Scientist, 3 August 2002

Why am I quoting this interesting trivia? Sunflower buds, we all know, keep moving but a stage comes when it does not move any further. Why am I discussing the night? That's the name of the film. The only teeny-weeny bit about sunflowers in the film But then the sun is not relevant for the night, is it? The near oxy-moronic title give a life to the movie after the film is over—in many ways similar to the disturbing Austrian-French film "Cache" made by Michael Haneke. For a cineaste who can sit through the film right up to the end of the film, the real punch line from the director comes in the form of an audible TV program statement about bees in a beehive, that do not attack unless provoked. This is an innocuous fact but is loaded with meaning in the context of the film's ending. This is a statement heard by the unpunished rapist on the prowl.

The Spanish director Sánchez-Cabezudo's film is based on his own script. (He is the latest among formidable Spanish directors making good films based on their own scripts, following the tradition of the gifted directors, Amenabar and Almodovar). Most viewers would appreciate or find good entertainment in the film while mulling over in the different non-linear narrative segments of the story of rape, vigilante killing, extra-marital sex, corruption, village vs urban comparisons, love for a dead spouse. Each segment provides a different Rashomon-type perspective of sections of the same story from a different angle, as seen by a different character. The director uses a technique used in modern pulp literature most recently used by Dan Browne for his book The Da Vinci Code. While the technique might baffle a few, most viewers would derive entertainment as they are constantly challenged to derive the entertainment.

The film offers dollops of entertainment ice-cream that most viewers want—-mystery, exploration of new found caves, a rape scene, a brief scene of violent death, and some endearing performances from the actors. If presented as a straight chronological narrative—the story could be made into a typical Hollywood thriller. But why is it different? It is different because of its end.

That is where the director and screenplay writer scores a bull's-eye—for a patient viewer who does not leave the theater once he sees the end credits begin to roll. The comment about the bees drive home the uncomfortable, parallel moral issues that Haneke raised in "Cache." Europeans and many of us prefer to retain status quo rather than rake up disturbing moral and social issues. It is convenient for us to do so. It is not because the issues are resolved. In this film the main culprit, a rapist is never brought to justice. If an attempt was made to bring him to justice, three persons would go behind bars for manslaughter, a homicide would surface, the reputation of an erring wife would become public knowledge, a good policeman's daughter would find out that her husband and father of her unborn baby is a corrupt cop and so on.

The film is, therefore, not merely a film to be appreciated for its structure but its underpinning question on morality. The film shows us that evil is not limited to a rapist but to the best of us. A good man could do evil in a fraction of a second. And to defend lesser evils, the bigger evil gets away. Only to scar our conscience for ever. Spanish cinema is on the move this decade. Sánchez-Cabezudo's film is good but the post-script in his screenplay is truly formidable. There indeed comes a time these days when "sunflowers" mature, stop turning towards the sun and only face the east.

Because it is convenient!

Clever whodunit, where deception and self-interest is the rule of the game

[rasecz · 8/10 · 16 December 2006]

A woman is raped and murdered in a field of sunflowers. We see the murderer from afar and from the back. We also see the murderer's car and it is a good tell. The plot however is not about solving this murder, though the prime suspect is easy to figure out. No, the film is going elsewhere. The title is a deception and deception is the name of the game.

In a small town some of its residents and a few outsiders become embroiled in a clever drama of rape, mistaken identity, manslaughter, corruption and deception. The story is told in installments, each concentrating on one of the main characters. For dramatic effect, the installments are not presented in chronological order. At the center there is a surprising twist to the, so far, believable events. Up to the last installment, the story telling has a natural feel albeit with a few necessary contrivances thrown in. It is the last installment that annoyed me. Its Sherlock Holmes style of crime resolution is too predictable. Fortunately the end introduces a second and similar twist that brings the story to a coherent conclusion. It is not a happy ending, it is a pragmatic ending. Everyone is worse off but, at the same time, the self-interest of all alive has been achieved. That's the clever aspect of the story.

The butterfly effect adapted to the Spanish psychology

[Agnelin · 29 December 2007]

"La noche de los girasoles" begins with a meeting by chance, between a rapist and murderer, and his next victim. The rapist will try to victimize a young woman, and who she is and where it all takes place play a decisive part in the violent events that will ensue.

So this movie has several strong points. One of them is showing how someone completely unrelated to the rest of the main characters of the story, someone who meets one of those people (the young woman) by chance, can be the trigger for all we're about to see. Then, the structure is very attractive too, as the director tries to make full portraits of each important character and show us, not only what they're doing there, but where they come from, in every sense; he shows us what that person is like, their personality and motivations, and what they want, basically; then he drops that character into the spiral of events that have been started by the attack to the young woman, and so comes this suspenseful story, involving two speleologists, the girlfriend of their leader, a very honest and stern old cop and a dishonest, corrupt young one, and two old men who live in an otherwise derelict village.

Something else I liked about the movie is the fact that it shows how absurd and ungrounded violence is; all acts of violence in the movie are completely gratuitous and coming solely from human primal instincts. The violence comes from a lack of communication and a desire for power and beating the opponent.

As is the case with many Spanish movies, the ending lacks momentum and power, but works quite well, in any case, and makes much sense.

An exercise of perspective

[jpschapira · 7/10 · 12 June 2007]

I am always amazed at the number of Spanish directors who make movies outside the country and, also, have their movies premiered in various countries. Jaume Collet-Serra with "House of Wax"; Jaume Balagueró and "Darkness"; Alejandro Amenabar with "The Others" and "The Sea Inside"; now a guy with the sequel of "28 Days Later" and, of course, Almodóvar.

The fact is that, if you realize, they are surprisingly good at achieving terror (or at least suspense); if you consider the films mentioned above. Well, there's a man named Jorge Sánchez-Cabezudo, and his film "La noche de los girasoles" ("The Night of the Sunflowers" in English) has definitely got some suspense, among other things.

To begin with, the screenplay (by the director himself) has an unbelievable earnestness in its way of depicting people that have nothing to do with one another but, because of how small the world is, end up completely connected. How can I not get bored of movies that connect different things that ultimately become one? It's beginning to appear as an overly used technique with screenplays, but Sánchez-Cabezudo's sense of reality lets us forgive this little detail.

His ingenuity comes from the fact that he presents each of the situations, with a very sarcastic written sentence in the black screen. Then, he places the characters in a completely remote area of the Spanish country where nothing interesting ever happens…Until now, and it's better if I don't reveal any of the plot; because the events that happen target these people's need for excitement.

Try to think that the movie is the typical American 'slasher' where teenagers on the road end up in a deserted town and someone (or something) tries to hunt them down. Now change the teenagers for grown up people, and that 'someone' for nothing. There's no reason why something should be waiting for you in the most boring place; but that's the way 'slashers' think.

In this unexciting environment, when one character comes from work, his wife asks how everything went and he has no better answer than: "The same as usual". Actually, this is a phrase that the script didn't even need to include, because the viewer understands the monotony the characters live with immediately.

The actors portray all these mixed feelings with accuracy; specially Celso Bugallo as an old cop near retirement, and Vicente Romero as a younger one who, at one point, has to deal with a case while being drunk. The rest of the cast couldn't seem to be more normal than you and me; the kind of people you can imagine existing, with the slight difference that the scary music that plays in the background as they drive wouldn't play in their regular cars.

"La noche de los girasoles" captures your attention as the director captures the attention of his characters with his simple but original style; because the movie is, if anything, an exercise of perspectives, and one that you won't regret watching.

Deeper grave

[paul2001sw-1 · 9/10 · 4 October 2007]

'The Night of the Sunflowers' is a superior Spanish thriller, telling the story of the tragic aftermath of an attack on a woman, and set against the backdrop of a dying, depopulated rural town. Technically, the film's merits include an evocative score, the subtle use of visual clues, and unmelodramatic acting. But perhaps the strongest aspect of the movie is the way it allows the viewer to see events from different perspectives, and thereby not only drives the evolution of the story, but also gives it a truly three-dimensional quality. The film begins with a segment which, nearing its end, savagely reverses the audience's expectations and sympathies; and thereafter, the story is told in achronological, overlapping fragments, each one offering a different perspective on events. And because of its technical merits, the film's use of this device never damages the naturalistic mood. As events reach their conclusion, you find yourself really caring about the characters, even the ostensibly unattractive ones. 'The Night of the Sunflowers' is a fine film, that never tries to pretend to be more than it is, but which offers rewards through the care with which it portrays its world.

Splendid thriller-drama , involving eight characters around a dramatic fact with fateful consequences

[ma-cortes · 7/10 · 30 November 2015]

Intriguing thriller packed with stellar acting , superb cinematography and colorful rural landscapes . Gripping and stirring picture , set in the rural environment of the deep Spain , in which there's a fine line between genre conventions and outright clichés . It happens in the deep Spanish lands , a village in a remote and forgotten location . In the north of Spain , "Esteban" (Carmelo Gomez) and "Pedro" (Mariano Alameda) are two speleologist who come to a mountainous area to study the discovery of a cavern and determine whether it has scientific interest or is useless . They are accompanied by "Gabi" (Judith Diakhate), the sweetheart of Esteban , who awaits them at the foot of the mountain . While the cavers are exploring a cave near from village Gabi is approached by a stranger (Manuel Moron) rooted in a misogynistic past and is attacked in the nearby woods . His reaction leads to a tragic chain of events . The deeds bring together a pair of different Guardias Civiles , First Corporal (Celso Bugallo) and Tomás (Vicente Romero) . As two deputies attempt to track down a criminal who has terrorized an easy community .

Formula thriller filled with gritty intrigue , crisply edition , tension , suspenseful and a little of violence . It is a story of interwoven lives structured into six parts , crossed by a web of suspense that is resolved in the last story in a surprising finale . The flick revolves around a tragic event becomes complex throughout the movie . This serious and truly original film with groundbreaking narrative results to be a fantastically intriguing story of ambition , corruption , deceiving and killing , being very well done , swiftly paced and including a twisted screenplay . Interesting theme about some potholers and authority enforcements , slipping outside the bounds of the law through their use of lies as well as half-truths ; including corrupt deputies who attempt to carry out objectives by whatever means ; however this issue has been previously treated in many other films , especially American ones . It has emotional or aesthetic resonance , even comforting in some ways , and partly because is just more attuned to nuanced variations on what might appear to be mere formula . The plot is twisted but plenty of thrills and surprises . This intelligently made picture relies heavily on a complicated plot , interweaving disparate characters , ordinary people , detectives to investigate a grisly killing and many other things . This moving motion picture contains stylistic boldness and energy . There are six regular characters faced with extreme situations, and perhaps one of the main objectives Jorge Sánchez-Cabezudo got was precisely to show how the ordinary villagers can cause a situation so complicated and dramatic . It's a pretty good film in which the main and support cast give a good work there are great characters , everyone does their job perfectly . Secondary actors are frankly well such as Celso Bugallo , Manuel Morón , Vicente Romero , Cesareo Estebanez , Petra Martinez , and special mention for veteran Walter Vidarte as nutty Amós

Thrilling as well as evocative musical score by Krishna Levy who has composed successful as ¨8 Women ¨, "Ali Zaoua: Prince of the Streets" and ¨The Fall¨ . Colorful as well as dark cinematography by Angel Iguacel . Excellent debut from Jorge Sánchez-Cabezudo (writer and director) with this film "La Noche de Los Girasoles" a great Noir Cinema film set in the rural Spanish location . This is his only picture , "The Night of the Sunflowers" he would go on writing/directing series and TV episodes such as ¨Bajo Sospecha¨, ¨Velvet¨, ¨Gran Hotel¨, ¨Victor Ros¨ , ¨Hispania¨, ¨Guante Blanco¨, ¨Crematorio¨, ¨Hospital Central¨, among others . ¨The night of the sunflowers¨ is an award-winning movie such as Cinema Writers Circle Awards, Won CEC Award Best Actor Carmelo Gómez , Best New Artist : Jorge Sánchez-Cabezudo , Best Supporting Actor : Celso Bugallo ; Miami Film Festival 2007 Won Audience Award Ibero-American Competition Jorge Sánchez-Cabezudo won Special Mention Dramatic Features - Ibero-American Cinema Competition For the musical soundtrack ; Sant Jordi Awards 2007 Won Sant Jordi Best First Work ; Spanish Actors Union 2007 : Won Award of the Spanish Actors Union Film: Performance in a Minor Role, Male Manuel Morón ; Turia Awards 2007 Won Best First Work Best Director : Jorge Sánchez-Cabezudo

A great thriller about the depths of Spanish's psyche.

[joelsegarra · 9/10 · 16 September 2006]

This movie is outstanding. The non-linear plot reveals itself little by little taking you by surprise at every turn. It all begins with a rape which already happened a day or two ago. The body is found in the middle of a field of sunflowers. All of this, we get it second hand from TV newscasts while the main characters carry on with their ordinary lives somewhere else. We -the viewers- are lead to follow a caver about to explore a virgin cave near a remote village, his girlfriend, two old disgruntled neighbors on an abandoned village who can't stand each other, a salesman, the disloyal police officer, ... We get to see every character from various viewpoints and how somehow their lives are connected without them knowing yet...

And then tragedy and human resolve -call it selfishness or greed- take over everybody's action.

The pace of revelation and the acting work like clockworks. This could happen, this is (s)pain after all.

Watch out for this guy -the director- for this is his first and for sure it won't be his last.

Touch Of Welles

[writers_reign · 7/10 · 12 May 2007]

Someone involved in the creative aspect - writing, directing - has clearly seen Touch Of Evil and 'borrowed' some of the aspects such as a Spanish-speaking small town, corrupt cop (though not the chief of police) and crossed it with Rashomon to come up with a very watchable quasi thriller which ultimately lacks tension. One of the previous commentors has already identified a major flaw in the shape of the killing carried out in silence (apart from gunshots) with a victim who doesn't bother to ask why he is being targeted and vigilantes who don't think to tell him or even ask if he is guilty. Invariably in a scene like this the avenger will relish saying something along the lines of 'this is what happens when you rape someone's wife, her husband comes looking for you'; but, that would, of course, spoiled things, left the husband with egg on his face and taken the film on a different course. If you can get over this hurdle there are things to be admired and even enjoyed though I for one have to take on trust the notion of 'abandoned' villages which the film implies litter the landscape in Spain.

Is justice really necessary if no one demands it?

[dromasca · 8/10 · 8 August 2009]

"Is justice really necessary if no one demands it?" - this is the moral question that one of the characters of the film is asking at some point, and this is the key question of the film that keeps being asked by everybody who watched this very well made and surprising film noir made by first time Spanish director Jorge Sánchez-Cabezudo.

The unconventional setting for a thriller story is a Spanish village, living a quite life where nothing happens until things start happening - a cave is being discovered and in hope it may hide some cave paintings specialists from the big city are brought in to explore it, and a serial rapist hunts its victims in the region. In the turmoil of the events a man is killed in a conflict triggered by confusion, and the local cops called to solve the case prove to be more than willing to cover the facts in order to avoid their own lives being disturbed and their smaller or bigger lies be discovered. All settles back eventually in its apparently normal state, as no one cares about a dead man with no family or sympathies left behind. Yet, the real villain of the story remains uncaught and the ending suggests that he - also a man of family and conventions - will probably hit again.

The story is told with a very sure hand, and its structure - six episodes shifting the angle of telling the same facts from one character to another - builds gradually the tension and the interest of the viewers. the director certainly knows well the background of the Spanish villages where the story is set, and its characters are human and authentic. An excellent team of actors sustains the whole movie, Celso Bugalo is especially good as the old policeman who slowly understands the dimensions of evil he is faced with and reluctantly accepts the compromise or at least part of it in order to save the marriage of his daughter, and Manuel Moron as the real criminal, hiding its evil deeds under the masque of an apparently benign sales man and good family man.

Spanish cinema has brought many inventive and successful films in various genres in the last decades. 'La noche de los girasoles' combines the classical psychological thriller story set in an unusual place with an older Spanish tradition of bringing up to screen the sins of the middle classes and the dangers of moral compromise. This is a remarkable debut.

Unless some subtlety escapes me here ... SPOILERS BEWARE

[kaaber-2 · 7/10 · 16 October 2007]

• what's with those sunflowers? Well, never mind; The Night of Whatever is a beautiful film despite a slightly uneven plot that permits an aging and brilliantly acted Spanish equivalent of Lieutenant Columbo, LAPD, to dominate the last third of a film otherwise promising to catch a multitude of balls thrown into the air at the outset. "Sunflowers" is related (and can hold a candle) to films like "Crash" and "Babel" by its non-linear narrative and its description of the fatal encounters of hitherto unrelated characters. It's the film's great forte is that we actually get involved with them. The central scene in which an innocent old man is killed by our protagonists who act in the belief that he has brutally raped a young woman is stunning. We are beyond language in this scene - the characters act blindly - an mutely - on the wrong assumptions; a horrible act committed by decent, mistaken people. It may be compared with the gruesome burial of Dan Hedaya in Coen's "Blood Simple". "The Night of the Sunflowers" is definitely worth watching, and a Spanish more-mainstream alternative to Almodóvar.

Fascinating film that uses contemporary Spain as a backdrop for a look at the evil in the world; the repercussions of that evil and a further study of morals.

[johnnyboyz · 8/10 · 11 April 2009]

La Noche de los Girasoles, or The Night of the Sunflowers in English, is quite clearly a product of some of contemporary cinema's more recent efforts. The film takes inspiration from, and pays homage to, a number of quality offerings from around Europe and The United States from recent times, while delivering an experience that flicks from the slow burning and ominous to the fast paced and shocking. All this within the realm of a crime-fused world of noir. The film is a quite gripping tale about desperate people in a predicament they should not and do not deserve to be in. But the film adopts a multi-strand approach, although maintains its study of circulation rather well for good measure. The film won me over for its look at greed, retribution, corruption, honour, vigilantism and desperation on a couple of character fronts.

The film can be best summed up by observing the opening twenty minutes and closing five. The same individual, whom the film opens and closes with, ambles through the world doing whatever depraved activity he is driven to do, but has no idea of the repercussions they entail. The attitude is a sort of nonchalant one; an attitude that disregards life and what devastation erupts in the wake of it. These emotions and ideas are ones that crop up at various points with a couple of people, most notably individuals to do with disguising a murder and accepting money on an immoral level. These events that are born out of a prior, negative catalyst are created and further spawn scenarios that could lead to further evil or wrong doing. The overall feeling is that evil spawns an event that could spawn further evil and that could spawn an event that might induce evil still. The underlying feeling is that this film looks at a butterfly effect born out of Pandora's Box being opened up.

Some of the primary characters in the film are potholers and their task is to explore a recently found cave discovered within a rural Spanish community. This is where the overall iconography to do with the film's study enters the fray. Director Jorge Sánchez-Cabezudo has his characters descend into this dank, grimy, cold, unknown and uncharted space. It's here I feel he draws on parallels with Spain as a nation. His film will be one that goes into Spain as a rural and 'unseen by the tourists' location, an unearthing and a real look at whatever cold and shallow activity, feeling and people lurk within. It is a look at a place no one else ever sees or has seen before. It is iconic of sorts that the location of the cave is used to hide the evidence that bring normal, abiding people down to the level of criminals. This supports the general theory that, if you look hard enough in the most natural and desolate of areas, you may well still be able to find wrongdoing.

The film, a Spanish one that continues the recent ascent of cinema in that respective nation, begins with a lone male individual driving to a certain destination. The emphasis on his gaze at a younger girl and the dead body found in the field at the very beginning creates a dangerous image in our minds that this discovery and this man's observing of certain things will only lead to later disaster. Without wanting to give too much away, the film breaks off after its catalyst and draws on themes from 2002's Irréversible, as a film displaying the shocking repercussions individuals realise they are capable of when someone they dearly love is harmed. The film is very briefly a look at raw human emotion as the distinct love for someone boils up with anger and hatred at the person responsible for her harm. A person's limits are tested; what they're prepared to do is pushed and, like Irréversible, it culminates in the murder of someone.

Running along-side this tangent is a young local policeman named Tomás (Romero), the same individual who happens to stumble across the potholers and their dead body scenario. His crime within this observant world of sin and evil born out of evil is greed. While initially aiding the innocents caught in the web, in a sort of role reminiscent of Pulp Fiction's clean up man 'The Wolf', the young policeman very quickly becomes aware that he is able to turn these seemingly innocent people in, but will not for a large price. Finally, the film calls on the Coen brothers' masterpiece Fargo when Amadeo (Bugallo), an aging and steady headed police man, is forced into putting all the corruption and wrongdoing together alá the character of Marge Gunderson in said film.

I do think The Night of the Sunflowers is genuinely a good film; a film that looks at fate and the evil born out of evil and how certain events and emotions can bring mankind down a level at times of desperation. Sunflowers, as a plant, can keep on growing up and up, spiralling out of control. If this is the 'night of the sunflowers', then it is a time during which scenarios can rapidly grow out of control. Only, it is the human beings in the film that adopt the role of the sunflowers as their emotions and inner-greed aid in the progression of evil and wrong-doing.

Flawed Thriller

[EduardoFS · 4/10 · 20 November 2006]

I found this film unsatisfying. It's a worthy effort by the writer/director with an interesting and original structure… but it's essentially marred by implausibility and lack of psychological depth, which is critical in a thriller. It starts off well with the violent rape of a woman, but then it veers into contrivance and far-fetched territory when her boyfriend –a man who has been cool-headed and sensible so far, he is a scientist after all- takes, with the help of a colleague, his brutal revenge on the wrong man, in a long, gruesome scene, in which unbelievably no word is exchanged between the victim –who can't imagine why somebody unknown would want to kill him out of the blue- and the aggressor, a man who strangely doesn't feel at any times impelled to verbalize the reason for his revenge before a clearly perplexed man. One of the things I hate when I see a thriller is when characters don't act as normal persons would in such circumstances, when the character who has committed the crime acts stupidly and, because of that, gets caught. That's what happens to the police officer who makes the 'indecent' proposal to the people who killed the wrong man, when he sees that his father-in-law and boss begins to smell a rat. Strangely, he crumbles and practically hands his confession to him, when it was clear that no one would ever find the dead body, and therefore he was in the clear. Also, it's not believable how the father-in-law ties all the loose ends and finds out that the man has been killed and by whom. There are no sufficient grounds to reach that conclusion. No dead body, no motive, no criminal record in the perpetrators. And the ending is completely unbelievable as well, when the father-in-law –after all the hard work- burns the money without wanting to know how the man was killed and why, and the killers don't make any effort to explain to him that it was somehow an accidental homicide, that it was afflicted on a man they wrongly thought had been the perpetrator of a rape and that therefore there is a rapist at large. This is all very contrived.

You have the feeling that the characters are pieces on the writer/director's chess set, that he moves them as he pleases in order to get to his predetermined plot milestones, but it doesn't work or ring true, despite the actors' good effort. All the characters, except for the father-in-law, are weak, greedy and selfish, they all seem to be cast in the same mold, without shades. And at the end, for all its original structure, the intricate and meandering plot doesn't amount to much, and you leave the cinema with the feeling of having seen a small story.

Spectacularly good moody Spanish thriller from brilliant new director

[robert-temple-1 · 10/10 · 10 May 2008]

This is way up there with the best thrillers, like France's recent 'Tell No One'. It has the moody, brooding atmosphere of Jules Dassin's old classic '10:30 PM Summer'. Who is Jorge Sanchez-Cabezudo? Is it true this is his first feature film? How can he be such a master from 'birth'? He wrote it as well. We are onto something here, a major international talent has appeared 'down there', and he is better than Pedro Almodovar in my opinion. When do we get the next one? It's enough to make you want to rush right out and eat some tapas, or something even more drastic than that perhaps. This is a wonderful study also of the clash of peasant and modern cultures. The acting is all flawlessly executed by a team of brilliant actors and actresses, but perhaps the best of all is an actor named Walter Vidarte, whose portrayal of 'Mad Amos' is as good as John Mills as the loonie in 'Ryans Daughter', and don't forget that won an Oscar. But all of these Spanish names are lost on me. I know who Miguel de Unamuno is, but not Carmelo Gomez, so there is not much to say but that they are all so good they must have a secret society in Spain called the Let's Make a Really Good Film and Not Tell Anybody Who We Are Society, whose members cleverly disguise themselves with strange Spanish names. They say Spain is part of mainstream European culture, but I don't believe it. But it is certainly now part of the top European film culture. More please. I might even start to remember some of the names if I could see them more than once.

Country-noir Spanish style

[dylgates · 8/10 · 9 June 2007]

I really liked the film and disagree with some of the comments made earlier. Firstly, it's a Spanish movie so I can't see how it can be influenced by A Touch of Evil regarding location. Touch of Evil was set in Mexico. Secondly, I thought the 'silent' killing scene actually made a point about the two worlds that exist in Spain; the city and the countryside. The old farmer was a virtual hermit and barely existed in the modern world as represented by the Cavers. His near silence was mentioned by one of the characters who said that old Cecilio barely speaks.

Regarding the ending, I would say that the strongest character was the old Police Officer. Despite his frail appearance, it is clear that his mind is still sharp and he still has a strong moral code - unlike his son-in-law. What I liked about the movie was how the moral conundrum forced the viewer to consider what they would do if placed in such a situation. I don't think the killing would ever be seen as an 'accidental'death. In his anger, the caver attempted to kill the farmer. They entered the house with this intention.

Overall, I felt it was a really powerful movie and will surely be remade by Hollywood.

worth to watch with Spanish scenery and the music.

[jsh-12 · 8/10 · 18 October 2007]

This film is worth to watch. cause it contains a lot about people's emotions and their reactions when they had a trouble.

But for the most of all I really like the elder men's characters such as the police man, and the 2 men who are living in the useless land. their action was really great, especially those two friends who are always arguing each other. They are so cute and wise even though they are lack of power and physical energy.

this film consists of quite lots of different stories and the characters in one small place in Spain. Near the San martin station. I am not sure where is it but the scenery of this film's background seems so nice and gives you some pictures of sunshiny Spain. at first the story seems extends a lot from the first story to another story and it also gives you some wondering how those stories gonna be connected. But don't worry, escape from the audience's wondering this film's different stories are quite close and connected in a good logic.

This film reminds me one south Korean film that calls as 'Memory of murderer' and one Spanish film that is 'Volver'. That is because of the same item of those films that is especially those film's essential item is girl/woman's sexual harassment. and the way of solution of those films is that they show the whole story in the ending part of the film. They don't show everything in the first part. so that is how they can hold the audiences till the end of the film.

and one more thing of this film, that is about the title of this film. the meaning and the nuisance of the concept 'night' is quite 'suspicious'. you don't know what is happening at the night time cause of course it is because of the darkness. So many accidents happen at the night time. and the police man try to find the right answer at the day time when everything is bright. so that is why this film's title has the word, night. and the sunflower is the part of the film's background place. that is quite beautiful and I hope that I could see more of the sunflower but that was only for the just first scene of the film.

and I also like the music that is quite part of Spanish culture. I don't know exactly what kind of genre it is. But that music is really fit to that film. what I am talking about is the tango music when the elder man drinking alcohol and reminds his family through the pictures and he turns on the LP music. and the ending scene there is one more music that also feels so good.

An evil wind sweeps through rural Spain...and passes over

[jghbrown · 10/10 · 5 October 2008]

I thoroughly enjoyed every second of this beautifully studied movie, in particular the deeply authentic portrayal of Spanish rural life. Had this been Hollywood we would have been treated to sweeping views and beautiful people. Here we are dealing with everyday folk in an unspectacular town which is losing all its young to the cities.

Night and sunflowers don't go together. Neither do roly-poly traveling salesmen and rape. We realize from the start that something bad is about to sweep through the countryside and when it does it touches everything in its path. Then, when it has gone past everything goes back to normal. The salesman finds a shoe on his chair and the sunflowers are about to be exposed to sun again. The music adds to the sense of pervasive evil.

For its effect the movie relies on subtlety rather than fast action. Everything is in the minute details. The looks between the wife and her errant husband. The two neighbors who love to hate each other. The salesman eating a chocolate biscuit while talking to his wife on the phone. The acting is low-key and superb in every way. The only part which seemed somewhat contrived was when the money was thrown on the fire. Would the corrupt cop simply have stood there and watched it burn?

Some of the details intrigued me. Why did the young man show the salesman where the quarry was on the map? And why did the salesman say "Bastard" later when he was looking down at the town? The way I figured it was that when he was talking to the young man he hadn't yet murdered the girl. After he did so he remembered the quarry and decided to dump her there only to find that the man had been kidding him.

It's details like that which make a movie and keep you thinking about it long after it ends. Highly recommended.