David Prior’s episode for Guillermo del Toro’s ‘curiosities’ gallery recovers the almost forgotten talent of the Mexican.
I wonder if what I intend to do in the text you are reading is legal: I am going to recommend an episode of a series almost ignoring that there are seven others around. I was told that in this section I could be free and I have decided to explore that freedom. Guillermo del Toro must have said something like that to Netflix when they were preparing cabinet of curiosities by Guillermo del Toro, the series that the Mexican creator controls and sponsors.
Like Alfred Hitchcock of the 21st centuryDel Toro hosts each episode in person. These are independent stories united by a common concept: that cabinet of curiosities that the director of The Shape of Water updates and turns into a catalog of horror and mystery stories. The showcase that exposes exotic oddities and mysterious mutates into an anthology television series in which each episode has a different creative team.
It is noted, however, that these directors and screenwriters, from Jennifer Kent to Panos Kosmatos, from David S. Goyer to Regina Corrado, have been adjusted to what we could call “the Del Toro universe”. Maybe too much. It hurts a little to see the always perverse Vincenzo Natali bowing to the bloody but infantile imagery of Del Toro, who with the creative excuse of the “inner child” (and the need for his films to be for all audiences) hasn’t made films for a long time. adult.
That is why two small acts of call it freedom or call it rebellion from two of the directors of Guillermo del Toro’s Cabinet of Curiosities: Kosmatos and, above all, David Prior. Anyone who has seen the fascinating The Empty Man: The messenger of the last day knows that Prior is perfect for this project. Also that he will know how to fulfill his two requirements: be “faithful” to del Toro and mark his own territory. The autopsy is the episode directed by David Prior, from a script by David S. Goyer which in turn adapts a story by Martin Shea.
His twisted tale centered on, effectively, an autopsy, becomes in the hands of Goyer and Prior in an exquisite disgust capable of jumping from gore to metaphysics on two planes. With a sensational F. Murray Abraham and an amazing Luke Roberts, this episode is perhaps what Guillermo del Toro would sign if he had not become a money machine for Hollywood. It’s possible that when Prior is handed over a $250 million blockbuster, he’ll run out of leftovers. The autopsyimages and ideas that I would never have imagined on Netflix, a platform increasingly removed from content not suitable for children.
It’s funny that it’s Guillermo del Toro who, through the back door, has slipped us something so different and stimulating. Disgusting too, but if you watch an episode titled The autopsy I don’t know if he can complain after he’s seen blood and gore. Already F. Murray Abraham naked. Sorry, I had to make the joke. Call it freedom or call it bad taste.
According to the criteria of
Know more