Writers: David Muñoz and Felix Viscarrett (from the novel by Juan José Millás)
Director: Félix Viscarret
Being ‘in the closet’ usually describes someone who keeps their gender identity, or their sexuality, or both, a secret. In No mires a los ojos (Staring at Strangers), however, a character being literally in the closet allows for the exploration of dark concepts like obsession and voyeurism.
Traumatised after being sacked (for reasons which are never articulated) Damián (Paco León) hides from his former workmates in an antique wardrobe. Before he can escape from the closet it is delivered to married couple Lucía (Leonor Watling) and Fede (Alex Brendemühl). On impulse Damián decides not to leave the house, constructing a hiding place from which he can observe the family. This gives him a sense of power- he uses the family to fuel fantasies of godlike abilities. But Damián is not the only one indulging in fantasies, Lucía has morbid memories of her late twin brother, with whom she seems to have had an unhealthy relationship, and speculates the strange events in the house may be evidence it is being haunted by his ghost.
Initially there is a degree of humour with Damián behaving more like a guest than an intruder and obsessively tiding the house and doing odd jobs. However, this light mood does not last long and Director Félix Viscarret (who co-wrote the script with David Muñoz) exploits the fantasy angle to explore concepts which are both deep and dark. There is the impression while Damian’s fantasies are initially innocent Lucía’s obsession with her late brother is rooted in true neurosis. The joke about Damian cleaning the house turns sour when Lucia worries her mental health is so fragile, she might have tidied up and forgot having done so. There is a particularly disturbing scene of Damián and Lucía having sexual fantasies. While Damián thinks of Lucia, she fantasies about her dead brother.
Damián has a very high opinion of himself believing his isolation and lack of friends is proof he is a ‘good’ person. He has a distinct lack of empathy, regarding the family into whose home he has intruded as little more than objects which can be manipulated to suit his dreams. Reality in the film is malleable and Damián exercises his ‘godlike’ powers to re-write events. Criticised for not intervening to help the daughter of the house who is being abused by her boyfriend he devises a sequel to the event it which he stops the offensive suitor.
There are some deep concepts in the movie. In accordance with the principle of I think, therefore I am Damián at one point causes a crowd to vanish by informing them he is the only real person in the room.
From early in the film, however, one has to consider how far the fantasy extends. The story is told by Damián as he is interviewed as a guest on a television talk show. Even if you haven’t seen The King of Comedy it is easy to guess this framing sequence is not real. Actually, the entire story may be unreal. At the opening, as Damián drives to work, he spies Lucía for the first time, and it is possible events from that point on are all in his mind.
Paco León has a strong physical presence and an intense and disconcerting stare. He plays Damián as a blank presence presumably so the audience can project themselves into the events and speculate how they might behave under the circumstances. But the ‘make-believe’ aspect of the film is so extensive the audience can tell themselves as the events are probably unreal any imagining on their part is innocent.
Telling the story from the viewpoint of a character to whom it is hard to relate is a challenge for the audience. But the dark storyline and a strong central performance ensures No mires a los ojos (Staring at Strangers) is compelling viewing.
The Viva Festival runs at HOME in Manchester 10th– 30th March 2023
