★★★ / ★★★★
The opening scene of the Spanish film “Eskalofrío” depicted Santi (Junio Valverde) desperately running away from the sunlight as if he was a vampire. When he woke up from the nightmare, we learned that he wasn’t a vampire but had a condition in which his skin had an acute sensitivity to ultraviolet light. Direct contact to sunlight weakened Santi and could potentially kill him so the doctor recommended that Santi and his mother (Mar Sodupe) move to an area where the sun did not appear for very long. Coincidentally, when the mother and son moved to an isolated village in the mountains, grizzly murders started to occur. The film successfully generated genuine thrills and scares. Even though the movie felt small due to the budget, it had confidence in putting characters in really scary situations and allowing them to extricate themselves from painful deaths. Santi was someone we could immediately root for because he craved the life of normalcy but instead had no choice but to only be active at night due to his strange condition. He was outsider in the city and he was still an outsider in the small village. For a horror film, it was extremely fast-paced. Quick cuts were abound but I did not find them distracting because each scene was straight to the point, one rising action after another up until the first murder in the woods. Was the murderer a person, a monster, or perhaps both? Once the movie forced us to ask questions, its momentum and sense of dread consistently increased. What I loved about the film was once it reached a boiling point, it delivered one or two terrifying scenes, and would continue to build again. The most memorable scene for me was when Santi was alone in the house and he started to panic about the murderer possibly wanting to break in. It was very funny to watch because he did exactly what I would have done: Run like the wind and lock all the doors and windows, block the fireplace using a couch, grab a weapon, and sleep in the biggest area of the house. But it was also scary because we knew nothing of the intruder other than it was very strong and capable of killing in a heartbeat. Another great pay off was when Santi and his friends went into the woods à la Daniel Myrick and Eduardo Sánchez in “The Blair Witch Project,” video camera and all, in hopes of catching the killer on film to prove to everyone that Santi was not the murderer. “Eskalofrío,” directed with quiet power by Isidro Ortiz, is one of those gems that worked as a thriller and a horror film. It had a small twist in terms of monster flicks and it made me wish that American horror and thrillers would aspire to be just as inspired and imaginative.