Las amigas (2013)

Four friends live together in an abandoned mansion, exhausted by the boredom of knowing their lives today will be exactly the same as tomorrow, and tomorrow exactly the same as in a year, and in a year exactly the same as in a century. Paulo Pécora's girlfriends are a family of creatures that are strange to the romantic and sophisticated stereotype that turned vampirism into a teenage phenomenon: these are four predators who barely talk or interact -vaguely beautiful and repulsive immoral beings who are closer to the lubricious world of Jean Rollin, José Ramón Larraz, or Jess Franco than to Transylvanian noble decadence or Ann Rice's characters. And therefore, they are infinitely more familiar, possible, and disturbing. With an impossible tone that goes from the most twisted comedy to an urban depiction or an abject and definitely gore ending, The Friends expresses, above all, an absolute conviction on the idea of cinema being a strange alchemy that, as we are submerged into the free fall of binary thinking, can still come alive today through precepts and materials that are as noble as inevitably destined to perish.