![]() ![]() Where was her husband now? Clare agonizes after his stateside funeral. Everything is seen through lenses fogged with loss and pain. (A very bad haircut is involved.) And that hunt involves clues, from an unopened white box to a small red notebook to calls from Clare’s mother at home. Clare becomes fascinated by Revolución Zombi‘s own “final girl,” actor Agata Alonso, whose glamorous aura seems to increase as Clare’s departs in her hunt for Richard. Van den Berg makes use of the horror-film trope of “final girls,” the female characters whose survival gives the audience hope even as it points to their demise. Another character talks with Clare about humanity’s purported “third eye,” the seat of intuition and knowledge. She has Clare tell us that she always travels with, but never finishes, a copy of Patricia Highsmith’s The Two Faces of January, a book about a nasty con artist. ![]() Again the author shines neon toward symbols. Clare herself has taken a room in the third hotel she contacted, a grubby place with a grumpy young woman named Isa at the reception desk. ![]()
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