A pair of strangers wake up in an unrecognizable room sewn together by the abdomen, an extreme starting point that exploits a modest film without sordidness
Two strangers, a man and a woman, wake up in a room without remembering anything. They don’t know how they got to the strange place. On the bed, they are glued to each other. They are literally sewn together across the stomach, as if they were forcibly Siamese twins. They cannot be separated without bleeding out. Thus begins ‘Two’, a modest film that may recall ‘Gerald’s Game’, the adaptation of Stephen King’s story that portrays a married couple in low hours who are going to spend a few days in a house lost in a forest with the intention to breathe energy into your relationship. The shot backfires when, imbued in a sexual game with the intention of recharging the batteries, the man is struck down by a heart attack while she is tied to the bed without being able to let go. A struggle for survival begins that resembles what the premiere at hand poses, more interested in suspense, to the detriment of terror. The relationship that is built between the main couple, both kidnapped, each with their secrets, is the backbone of a film with gore moments that conscientiously exploits a minimalist set. It is not ‘Buried’ or ‘Locke’, it needs to take a breath as the plot progresses and leave the four walls to offer an outcome that surrenders to a delirium more typical of the genre. Pablo Derqui (‘María y los otros’) and Marina Gatell (‘Pa Negre’) show a vital chemistry under the command of Mar Targarona, director, actress and executive producer of Rodar y Rodar who has chosen to transfer to moving images a less ambitious project than her previous proposal as director, ‘The Mauthausen Photographer’.
‘Dos’, whose title runs through the plot for obvious reasons -and others to be revealed-, does not abuse the close-ups, despite its approach. Without artifice, the staging works, avoiding possible rhythm problems. The play between the main roles is the most suggestive of the whole, with a latent sexual tension. The film lasts approximately 70 minutes, which is appreciated in these times. There is no time for boredom to erupt, although precisely the footage, the idea and the aesthetics inevitably relate the result to a chapter in a horror anthology such as ‘The Twilight Zone’ or ‘Tales from the crypt’. Perhaps he can be reproached for a greater perversion in the facts, as they occur, but the tone of the dialogues, with a touch of humor, already marks a friendly line, despite contemplating two people inexplicably united by the abdomen. The distressing situation plays out, with some remarkable sequences, such as the one that arises in the bathroom when both need to relieve their bladders.
There will be those who think of an escape room, fashionable entertainment, at the beginning of the film. ‘Two’ is structured in a similar way. The protagonists discover clues around the room that allow them to shed light on their condition. There are objects multiplied by two, even a couple of reproductions of the same Goya painting looking at them from the wall. As in a bad dream, the twists and turns lead to a crazy nightmare. It is not easy to keep the type with such a crazy premise, but Targarona comes out gracefully avoiding the squalor. Bet on exploiting the minimum resources in pursuit of the esteemed interpretive duet.