Treating the departed as nothing more than a plaything for the fulfillment of one's most twisted desires almost erases any grander theme. Indeed, one could argue that Cerdà is making a larger point about defying death. While nothing is shown outright, the implication is repellent enough. It is not just carnal it is filled with volatility and extreme violence. Yet, at its core it is subtle, hauntingly beautiful, and every bit as rich in detail and composition as any other great film has ever been." DVD Talk awarded four and a half out of five stars and wrote, "The necrophilia in this movie is very disturbing. As a baby's cries emanate from the television, the scraps of newspaper the dog is eating the heart off of are shown to contain Marta's obituary. ![]() In his home, the pajama-clad mortician blends Marta's stolen heart into a pulp, which he gives to his dog before proceeding to relax in his sitting room. Unable to contain his lust any longer, the mortician engages in necrophilia, after setting his camera on automatic to record the event.Īfterward, the mortician autopsies Marta, cleans up, and leaves. The mortician masturbates to orgasm while fondling Marta's breasts and innards, then takes photographs of his handiwork. The morticians complete their work on the dead men, and while one leaves, the other remains, and brings in Marta's body.Īroused by Marta, the mortician locks himself in the morgue with her body, undresses it, removes the brain, and caresses it with a knife, which he uses to mutilate Marta's vagina, and cut open her torso. The orderly overhears two workers autopsying a pair of male bodies, looks in on them out of curiosity, and leaves when one of the morticians (who is disturbingly enthused by his duties) glares at him. An orderly wheels Marta's body into a morgue drawer, past a mourning couple, who a nurse gives a crucifix necklace. A woman named Marta Arnau Marti dies in a car crash, after accidentally running over a dog.
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