User reviews

Marshland is what you would call a slow burn, as there isn't a ton of action, nor is it fast paced. However, it is an entertaining and intriguing police procedural that takes place in a rural town in the south of Spain during 1980. The effects of the Franco dictatorship still muddy the waters; we see his name spray-painted on walls, while his influence still reverberates with many people in the town. The political climate of the region is what separates this film from any number of murder mystery/police procedure films. We see and hear about many workers' strikes and how they are effecting the small town. Politics hang over the entire case from beginning to end, constantly providing obstacles, giving the film its own identity.

Solving a murder case in a Spaniard rural town in 1980 is one mighty challenge. Those wanted by the police are hard to find within the marshlands of the area, presenting another barrier for normal police work. I'm guessing that is where the name came from. This is the type of challenge that detectives Juan (Javier Gutiérrez) and Pedro (Raúl Arévalo) are facing. While investigating the death and mutilation of two girls found in a swamp, they find out that they are dealing with a serial killer. Two other girls lost their lives in similar ways, on almost the same dates, in both 1978 and 1979. Complicating matters is the fact that the two detectives beliefs and ideals seem to be polar opposites. They do indeed butt heads on occasion, but for the most part, both stay loyal to their partner. However, their differences make each encounter with suspects or witnesses interesting, as we see how each man handles certain incidents.

In addition to this police investigation we have an interesting character study, as we get to know both Pedro and Juan. They are brought together as partners because, while working in Madrid, Pedro wrote an angry letter to a newspaper about the government. He is later told 'this country isn't used to Democracy yet' and that he can't mouth off about the government. Pedro of course sees it in another way. His punishment, for writing a letter, was a transfer to a rural town that everyone wants to leave, according to the locals, and we never quite know what his motives are. He wants to solve the case, of course, but is he emotionally interested? Or does he just want a ticket back to Madrid and the comforts, including his family, which will be waiting for him? He seems annoyed that he has been shuttled off to a rural town, but as the case moves forward his passion rises and soon he will seemingly do anything to catch the killer.

Juan is the complete opposite of Pedro. While Pedro maintains his composure for most of the film, Juan loses his cool several times with suspects, threatening and harming them to get information, as if he were policing for the old world: Spain before it became a democracy. This casts a shadow over his character, as we doubt whether his motives are pure. He is also the more persuasive of the two, whether with suspects or with his own partner, he seems to enjoy manipulating people for his own pleasure. It also becomes obvious that he is not a happy man, he is in pain, and we hear nothing about his family. He displays a nonchalant attitude towards the case initially, but as it progresses his actions speak loudly.

Both characters have great arcs that are three-dimensional and complex.

The setting is well recognised, as the cars, haircuts and mustaches certainly point to the late 70's/early 80's. Also worth mentioning is the sublime photography. Not only is the entire movie immaculately captured, especially one scene where the camera tracks Pedro racing after a potential suspect, but what will stick in your mind is the amazing aerial shots. These images help to put the murder case in perspective to the problems the entire country is suffering from. This top-down aerial photography is most prevalent – and incredible – during the starting credits of the film. As a subtle bass line plays under soft acoustic guitars, we see the marshes of Andaluci. They look stunning, and the marshes serve as the perfect setting for majority of the movie to take place.

If you enjoy murder mysteries, Marshland is highly recommended as the Spanish flavour and its political undertones make this film stand out from others in the genre. Even if the genre isn't your cup of tea, Marshland is still worth a watch thanks to its rich characters and the political backdrop of Spain in 1980.

What a satisfying movie this was. I love hardcore crimers and this is a great example of its genre. It shows just how corrupted the authorities really were in the 1980's rural Spain without losing touch with its relatively complex plot.

The setup is familiar; two city detectives investigate a series of killings in provincial Spain. I wouldn't know where exactly this area is, but I'm guessing it's the marshlands in Andalucia (my bad if I missed any other detail, I was excited to see the movie so I might have overlooked something). Anyway, it all gets very much complicated as the investigation moves forward and more people are implicated in the case. I'm not going to spoil anything, but be warned that this is not just your usual straightforward murder mystery, as it is also a detailed look into a country shaken by political instability and corruption within the authorities. That said, there are some obvious similarities with other crime-thrillers like Memories of Murder or Red Riding (which I both heartily recommend), or TV shows like True Detective (although I'm not sure about this since I haven't started following TD yet).

The acting is more than solid, especially good are the two main leads. Pedro's character was more likable than Juan's, partially because he despises Franco's regime and its legacy, while Juan didn't seem to care much about that. His share of problems stems from some ugly acts in the past and that is reflected in his often violent work methods. Yet, there is no denying both actors did a splendid job and had no problem dealing with their roles' demands. An interesting bit are a couple of symbol-heavy scenes that include Juan and a bird seemingly staring at each other; one might ramble that the bird represents a new era for the country, a fresh beginning if you like (as it can fly away anytime it wants), while Juan is a man tormented by a violent past he can't escape.

But what I really delighted in was the exceptional cinematography. The movie looks fantastic and every detail is captured in beautifully placed shots. The marshlands are bathed in vivid colors, especially during the sunset. Camera-work is top-notch; I guess mr. Catalan really knows what he is doing. Thankfully, he was also rewarded for his work.

In short, this is a dark, expertly paced thriller that remains ambiguous even after the satisfying conclusion. Definitely recommended if you're into movies like this.

The time is the early eighties. Two detectives, a good-cop (Pedro) bad-cop (Juan) pairing, are sent to a remote region in Spain to investigate the disappearance of teenage sisters. They uncover a series of brutal murders that the tight-knit community may be complicit in. Set in a Spain slowly emerging from Franco's shadow, Marshland has a wonderfully political noir-ish tone. Opening with birds-eye shots of an other-worldy landscape, that the camera often returns to, the futility and inhumanity of the toils that take place on the ground is constantly invoked by the judicious shot choice. Pedro and Juan have personal concerns beyond the investigation. Pedro's wife is pregnant and not always trusting of him in their separation. Juan has failing health and may not be long for this world. They bring their past as well as their present: Juan was in Franco's Gestapo and may have carried out atrocities, Pedro is being punished for open criticism of the military. They deal with these issues as best they can while navigating local resistance to their investigation and their own wary sense of each other. The characters, setting, tone and pace are all compelling, and the overhead shots add wonder and mystery. There are hints of Mississippi Burning here, and also True Detective and Chinatown - a local oligarch seems amoral and ultimately goes unpunished. But the film wears these influences lightly and portrays its own authentic, self-contained world. This is a stylish thriller that comfortably meshes plot, politics and personal concerns.

The difference between a good crime thriller and an average one, is often the setting. In the case of 'La Isla Minima', the surroundings are as important as the plot. The story takes place in a remote part of Spain, an area of treeless plains, lonely marshlands and wide rivers. The inhabitants of the isolated villages are suspicious of outsiders. In this hostile environment, two policemen try to solve the murder of two teenage sisters. Slowly but determinedly, they gather clues and try to squeeze information out of the uncooperative villagers.

Apart from the scenery, the film is also interesting because of the political situation underpinning the story. The film takes place in 1980, when Spain is in the process of becoming a democracy after being ruled for decades by the dictator Franco. One of the policemen, a former officer in Franco's special forces, still holds on to the old fashioned way of using violence to get things done. The other, a much younger man who embraces the new democracy, has a very different style.

The film is beautifully shot, with some remarkable aerial footage. It's nice to see that Spanish cinema has more to offer than Almodovar.

Marshland is slow burn, albeit entertaining and intriguing police procedural that takes place in a rural Spain during 1980. In addition to this police investigation we have an interesting character study, as we get to know the two detectives Pedro and Juan. The photography in particular is splendid. There was something very trance like feel in this movie, especially the weather n the locations. The music too was good. I enjoyed true detective the mini series. Marshland comes very close to true detective. Also while watching this film, memories of murder came to my mind. The Superb photography, memorable acting, music that asks questions, simmering political undertones. The cinematography was excellent. Certain scenes looked like painting. I highly recommend this to fans of true detective, memories of murder, prisoners and the abandoned (2006).

Set up in 1980's two homicide detectives were sent to a remote town to investigate the disappearance of teenage sisters. During their investigation they found similar cases of girls disappearing in the past which lead them to think that they are after a serial killer.

With stellar performances from Juan (Javier Gutiérrez) and Pedro (Raúl Arévalo), beautiful locations and superb writing La Isla Minima is definitely one of the best thrilling movies of 2014. In some ways it reminds me of the True detective season 1 with long roads shots, isolated houses and dark forests.

If you are into classic thrilling movies like Se7en, Silence of the lambs, Bone collector etc. you are going to appreciate this movie so go for it.

Well, this movie was not on my to-see list, but once I watched it, it became one of my favorites of the past year! The setting is ideal and the story is inspired. The acting from both lead actors was phenomenal and it's safe to say, that although the pace of the movie was kind of slow and sluggish, it manages to keep you at the edge of your seat for the whole duration.

I have to say that in the end I was kind of confused with all the Spanish names and who is who, so make sure that when you hit play, you're in a good mood and not sleepy. Cause if you are, it will be a bit difficult to keep up with who is who, etc.

The movie takes place around the 1980s and the scenery and the clothing etc, are really well thought of and executed. The way the movie evolves is really as it was expected for the most part, although there are plot twists that make sure that you don't feel like you own the whole thing.

I would really recommend it and I will stop here to make sure that I don't give away something that could ruin it for you!

Gripping and stirring picture , in which there's a fine line between genre conventions and outright clichés . The Spanish deep South, 1980 , in the Marshland a serial killer is on the loose . A series of brutal murders of adolescent girls in a remote and forgotten location bring together a pair of different Police Inspectors Juan (Javier Gutiérrez) and Pedro (Raúl Arévalo) . Two homicide policemen who appear to be poles apart must settle their differences and bring the murderer to justice before more young women lose their lives . With deep divisions in their ideology , these detectives must put aside their differences if they are to successfully hunt down a murderer

Formula thriller filled with gritty action , crisply edition , tension , suspenseful and lots of violence . This serious and truly original film with groundbreaking narrative results to be a fantastically intriguing story of murders , being very well done , swiftly paced and including a twisted screenplay . Interesting theme about a couple of cops who carry out their objectives by whatever means , including violence , slipping outside the bounds of the law through their use of force , coercion , lies and half-truths ; however this issue has been previously treated in many other films , especially American ones . As its story can remember the great American series "True Detective" , because they have similar situations with a misfit pair of cops and two parallel outdoors : American Southern Mississippi against the background of the Spanish south such as Andalucia and its Guadalquivir marshes . It has emotional or aesthetic resonance , even comforting in some ways , and partly because is just more attuned to nuanced variations on what might appear to be mere formula . The plot is simple but plenty of thrills and surprises , as two detectives to track down a killer who for years has terrorized a community in the shadow of a general disregard for women rooted in a misogynistic past . This intelligently made picture relies heavily on the complicated relationship between two disparate characters , both detectives in the homicide division to investigate the grisly killings cases . This moving motion picture contains stylistic boldness and energy , its evocation of a particular time and place , Spain of 30+ years ago , adding impressive images corresponding to various marshes of Andalucia , such as the ones of Coto Doñana and the Salinas De San Fernando in Cádiz . Very good acting from Javier Gutiérrez as a tough , arrogant cop abusing the suspects' civil rights and Raul Arevalo as an upright Inspector who displays his disturbing look to everybody . Support cast is pretty good such as Antonio De la Torre , Nerea Barros and Jesus Castro , ¨El Niño¨ .

Thrilling as well as evocative musical score by Julio De Rosa . Colorful as well as dark cinematography by award-winning Alex Catalan . Aerial photographs at the beginning of the film and others that you can see over it like a guided tour were digitalized from photographs . Being wonderfully shot on location in Coria del Río, Las Cabezas De San Juan , Seville , Andalucía . Some frames of the film are based on photographs of Atín Aya and Héctor Garrido , whose works impressed the filmmakers when they knew his work in a retrospective exhibition . This multi-prized film won several awards such as : Goyas , Feroz Awards, Cinema Writers Circle Awards , Fotogramas de Plata , Gaudí Awards ,José María Forqué Awards , San Sebastián International Film Festival and Spanish Actors Unión . The latest from the director of ¨7 Virgins¨ , ¨El Traje¨ , ¨Factor Pilgrim¨ , ¨Grupo 7¨ or ¨Unit 7¨ was masterfully directed by Alberto Rodríguez . To an outsider, someone who's not a fan of a particular genre , anything that looks somewhat familiar can be grounds for dialing the cliché police , but I think results to be an entertaining film with several scenes that'll have you on the edge of your seat . Rating : Above average , well worth watching , a real masterpiece .

Two former city detectives, of rather different political persuasions, professional experiences, and ambitions for the future, are sent to a depressed Spanish provincial town to investigate a seemingly benign case of recent disappearance of two problematic teenage sisters. It soon becomes clear that their case is only a tip of a truly morbid iceberg which they slowly but inexorably start uncovering. As the ugly truth reveals itself they are forced to cooperate, battle local forces and geography, which all will put their own physical and mental limits and professional dedication under severe test.

The film is very skillfully made, with every detail being inconspicuously there in service of the story, and expertly shot in the southwest of Spain. The physical terrain, like its hardened inhabitants, is unfriendly, and it appears perfect for committing and hiding hideous crimes. The disappearance of the girls happens closely before the harvest on which the welfare of the locals crucially depends, which ads urgency to the investigation. Equally important as the place of action is its timing; it is 1980, and after decades of fascist dictatorship the Spain is in the middle of a democratic transition. Franco has been dead for five years, and the new king Juan Carlos is slowly modernizing the country's political system. The younger and somewhat less experienced detective, Pedro, is slightly over-enthusiastic about the current democratic changes; indeed, his newspaper article, the existence of which is only hinted in the film, is the very reason why he is not in Madrid, but in the god-forsaken place where we find him. The other one, Juan, is more cautious, and we slowly learn that his reserve could be there because of the dark secret from his past. The two detectives are not unlike the two poles of Spain, still existing and divided as ever, which need to learn to live together for the betterment of both. Whether, and to which degree this will prove possible is the larger theme of the film.

The character of the older detective, Juan, is a memorable one, and embodies the complexities and the compromises of life under dictatorship. He is both a wounded and a violent man, who nevertheless has a gentle side, and who seems to understand and relate to local people better than his partner. He is competent, agile, and dedicated, but there is also more to him than what we at first can see. That more the viewers maybe may even sense, but I would assume will doubt for as long into the film as they can. Juan's character ambiguity is a particularly valuable and finely crafted feature of this altogether very strong film. In its ominous atmosphere and story structure it inevitably reminds one of the American TV series "True detective", except for the political and historical dimension which is there non-existent, but here is of considerable importance. Comparisons to the Korean masterpiece "Memories of murder" and the British "Red riding" may also come to mind.

The film remains faithful to its serious tone and disturbing realism until the very end, when it offers a sort of a resolution, very much in line with the compromising nature of the "transition to democracy" of the country itself.

I was hesitant to write a review of this film. Normally, I make kind of a rule with myself that if a movie isn't really my 'Kind' of film, I shouldn't come here and give it a poor rating just because it simply didn't do anything FOR ME. However, I think that objectively as a film itself, I should at least mention a few things that I noticed while watching it.

Firstly, as mentioned in my Summary, the film does indeed look lovely. Right from the beginning credits, it had some of the most stunning aerial shots that I have ever seen; the detail was breath-taking. And, the Blu-ray itself is beautiful.

There are a LOT of Spanish films that I really do like, especially ones directed by Guillermo Del Toro and his protégés (I really LOVED 'THE ORPHANAGE') So, I would like to THINK that I am somewhat familiar with their films. But... there was just something about this movie that I personally felt made it come across as lifeless and cold. Scene to scene, it just seemed to me that even after about an hour, everyone's dialog sounded almost EXACTLY the same. The same delivery... the same unemotional, monotone... ALL exactly the same... So, the acting, to me anyway, honestly just seemed rather one-note and bland and ultimately pretty uninvolving.

Now, there are a number of films that I really like, even some among my favourites, that may have a very unemotional approach. Some of Stanley Kubrick's films are that way. Certainly Mamet's style is usually quite cold, even his dialog (sharp as it is) sounding somewhat monotonous at times. BUT... there is a difference; at least to me. In those cases, you have either an underlying sharpness to the characters or the dialog in itself is really good, despite the fact that it may be delivered in a cold monotone. But, in this film, it just seemed like everyone, and I mean EVERYONE, was walking around in this cold, almost Zombie-like state, reciting their lines as if they had just been given a combination shot of Novocaine, Heroin, and Sodium Pentothal.

Seriously...

I mean, the crimes themselves were of course intriguing. But, even the way they were staged and the way the 2 primary cops were investigating, including the pacing, were just bloody, mind-numbingly monotonous. Now, as I said at the very beginning, it may be that I personally just do NOT get exactly what they are trying to do here. I don't know... I am genuinely puzzled by the other 7 RAVE reviews here, which make me honestly feel that I might be missing something. That may very well be...

But, although the movie is beautiful to look at, and the Blu-ray is stunning in every way, and technically everything appears to be very competently done, the end result is that I am sitting here after a full hour and I'm completely unmoved, uninterested, and fully uninvolved. I just simply don't care about what anyone says and nothing really of any real emotional substance or weight seems to happen at all...

Now, I WILL say that the soundtrack is quite good. I REALLY did like the almost continuous ambient sound. It was the ONE thing (to me the ONLY thing, really) that created ANY kind of mood at all. The heavy and portentous soundtrack really contributed to a strong, dark, and uneasy mood. I thought THAT was awesome! BUT... other that that, I honestly didn't feel that much else was going on.

So, I gave the film a '6' which I feel at least reflects the technical expertise and the effective mood they created. And, even though the film quite honestly ended up doing absolutely NOTHING for me personally, perhaps others will appreciate the overall mood and what the film makers were going for and will enjoy whatever it was that I evidently missed. I will have to keep an eye on the reviews for this film because I am curious as to whether anyone else will feel the same way as I did when I watched it or if they got the same impressions that I did from it...

Rodriguez's movie set in the Guadalquivir marshland and rural Sevilla when Spain's democracy was at its infancy is poetic and artistic, yet if flows fluidly. Its 10 awards -including Best Photography- at the Goya 2015 edition are well deserved, and it establishes Alberto Rodríguez as a director to look out for. Gutierrez's (Juan) and Arevalo's (Pedro) interpretations are powerful and convincing. Juan is an ambiguous and complex character, though I found certain aspects of his personality and biography (or rather, their combination) a bit artificial. The gist of the plot reminded me of a famous crime which took place in a Valencia village in the early 90s, but I doubt that was Rodriguez's and Cobo's intention. Apparently they wrote the script some 10 years ago, but only recently they thought of setting the action in the early 80s (from what I gathered, before the attempted coup and the socialists' victory). Although I would have preferred the end to shed a bit more light on a couple of things, this thriller is gripping, well-structured, well-interpreted (kudos also to Nerea Barros) and entertaining throughout. Excellent music and photography, too.

Greetings again from the darkness. The best neo-noir crime thrillers immersed in the grim tone of "True Detective", Stieg Larsson's trilogy and El secreto de sus ojos (The Secret in Their Eyes, 2009) have a way of drawing us into the atmospheric underbelly of society and keeping us grappling for solid ground until a resolution is in place. This gem from Spain comes courtesy of director Alberto Rodriguez, who co-wrote the story with Rafael Cobos. Cinematographer Alex Catalan also deserves much credit.

Juan (Javier Gutierrez) and Pablo (Raul Arevalo) are two police detectives thrown together to investigate the disappearance of two teenage sisters in a remote part of the southern country. It's 1980, five years after the death of Franco, and the country is in the midst of political and social transition/turmoil. The two detectives are a microcosm of this transition as Juan is the old-school cop who views "physicality" as part of the interrogation process, while Pablo is next generation and believes in following the new rules of democracy and treating all with respect. Pablo, whose wife is back home in Madrid expecting their first child, is none too happy about being paired with Juan, who seems to have no real moral compass at this stage in his life and career.

When the violently abused bodies of the sisters are discovered, Juan and Pablo follow a trail of leads that take them through a mostly closed-circuit and uncooperative community … one eager to explain that those sisters had "a reputation". The village women are all frightened to speak, the men are zealously protective of each other, and both are suspicious of outsiders. Even the Civil Guard systematically defends the old society of man-rule.

The contrast between the two polar opposite detectives, and their slow to develop meeting of minds, is more the focus here than the still quite interesting procedural work being done to investigate the murders and uncover the atrocities. This is not one of those heart-pounding, adrenaline-laced joy rides, but rather a slow-burn of police work and character development.

Aerial shots to open the film are breath-taking and included periodically throughout the film. Mr. Catalan's work is combined with digitized versions of the work of photographer Hector Garrido to create the haunting atmosphere around an area of Spain that otherwise lacks the natural beauty we often associate with the country. This setting adds yet another layer to this mesmerizing movie-watching (for those of us who appreciate the genre).

So many unnecessary characters and scenes in a film that runs out of steam before the finish-line. Also, it seems the director has a childish fascination with silly drone shots...Again unnecessary. This film was trying to make so many points that it ended-up making none. Watching this became tiresome after the first 15 minutes.

2014 is being a fantastic year for Spanish movies. Critics and viewers are supporting made in Spain movies that are shown month by month. La isla mínima is a very remarkable film whose highlights are the plot, the narrative structure, the characters, the beautiful locations, the way that information is given to the viewers, and the rain that falls and envelopes everything around a small southern village in the late 80s. Leading role Javier Gutierrez has been awarded as best actor in San Sebastian film festival, but my favorite one is Raul Arevalo, his disturbing look to everybody, and how he tries to introduce different investigation procedures and different ways of thinking in a society that is still stuck in the past. Highly recommended.

The movie is very well shot, photography is awesome, but somehow, due to the good rating, I expected better. I found it impressive but also boring at times.

It is a decent thriller, intentionally dark and desolate, mixed with some idiosyncrasy of the two detectives about Spanish political historical elements. Like in a stagnant swamp the events branch off into streams, being concealed.

I give it seven out of ten especially for the photography, the set and the direction.

It is a nice thriller, convincing but, somehow, not so great or gripping.

7/10

In the vain of True Detective (2014) but with the intensity (and pretentiousness) dialled down a couple of notches. This was compulsive, engaging and entertaining throughout.

I watched with the original Spanish audio and Spanish subtitles so I can't really comment on the quality of the script because my level of understanding was at about 70-80%.

The pacing was even, there weren't any unnecessarily drawn out scenes and everybody behaved in a realistic manner. The acting from the leads was superb but some of the supporting cast were quite wooden and most of the photographs used in the film were extremely posed. Those are minor critiques though; the only thing that really irks me is that no matter how well these films are made, and no matter how sensitively the subject matter is broached, they always feel a little gratuitous, hence why they usually lose one or two points from me. I watched The Treatment (2014) a while ago and both of these films currently have roughly the same IMDb score. Clearly then, ratings are hugely affected by the emotional impact of dealing with sexual abuse and murder. La Isla Mínima was, in my opinion, markedly better than The Treatment and I hope its rating increases to reflect this.

Another reason this film was more satisfying than others in its genre is that the police behave in a realistic manner - granted this is part of the commentary on the culture in this part of the world and what police have to resort to in order to protect their own people, but it still felt satisfying from a plot perspective and as an audience member. The final confrontation was horrific and yet entirely necessary. The film needed it and this was also entirely in keeping with the characters and the message of the film. Obviously, each will take away their own views but for me, the 'very' end made me question my earlier conviction that the final confrontation was 'justified': isn't that what everyone says to justify their actions?

If you enjoy films in this genre then it's an obvious choice 8/10.

"la isla minima" is a great movie about those type of places everyone wants out due to lack of opportunities. Placing this at the beggining of the 80's right after franco's dictatorship (i'm portuguese and we're actually were in very similar periods in these times) gives the extra conflict and darkness to the movie, because everyone was 1 - pretty much ashamed to talk about things "outside normality" and 2 -having an utmost respect for leaders and rulers no matter how corrupt or shady they were - unfortunatly both portugal and spain still suffer this mostly in small places like the one depicted here, ewhere everyone knows and needs each other to get into something.

the movie starts very well by in one scene giving the viewer enough information about the difference between both characters: one way more used to this type of mechanics and the other trying to break them out: the scene where both talk to the police is very self explanatory and interesting because in less than one minute we realized how different these guys were: right at the beggining of the film. the movie doesn't need a lot of explanation to why these characters are different and gives them a good meaning just in few small details: the characterization of both policemen was really well done.

then this was shot beautifully: there are big camera shots where we can see all the action in front of us, glorious panoramics towards the fields, a deep sense of claustrophobia in open air, like we feel why people want to move from there: we feel they're inside a "hole" - this also has amazing cinematography, the colors here are astonishing and the music depicts very well the state of abandonment these people feel. technically is flawless is one of the most beautiful movies i saw recently without any doubt. it also shows some historical context by giving the "party period" of the village and worker's strikes that i thing were interesting to follow.

now the plot: it's not bad not by any means but... i don't believe is the strongest point. the pace is good even though this moves slow (it had to and it works completely) but it then works almost like a procedural tv show: they see "x" talk to "y" gather evidence, talk to "y again" and then reach a conclusion. i don't think this is bad per se but there's no more characters to follow besides the two policemen. all the characters around them serve just one purpose: to move the plot forward or to enhance the conflicts they have with themselves or each other. i didn't find any character with sould and deepness besides the main two. that and an ending that doesn't satisfy completely, even though it's not bad - again, are the two points against it.

the film won several awards and deserves them mostly from the technical standpoint. the background story about the history period this took place was also well done - and i think it's because of that this film won several screenplay awards. for the procedural per se i do think it fells short and should have taken other narrative options - and having more solid characters besides the main two. I might change the grade later, it's almost an 8 for me. but since i found the plot a bit predictable i'll stick with a seven for now.

La Isla Minima, also known as Marshland, is a Spanish thriller that has won ten Goya Awards, the Spanish equivalent of the Academy Awards. For once, this film truly deserves the praise it got. The story revolves around the mysterious disappearance of two teenage girls in the desolate countryside deep in Spain's south. Two homicide detectives need to work together and soon uncover more mysterious disappearances related to their case.

There are numerous elements that make Marshland an outstanding movie. One element are definitely the landscapes and locations. The southern marshland looks desolate and raw as one can discover both beauty and despair in such a place. The movie takes us into shady bars, into spare hotel rooms, on dusty roads and into numerous abandoned and isolated buildings. Most characters don't really like to live in this place which has an impact on the gloomy atmosphere of this movie.

A key element behind this movie's success are its two charismatic main characters. Pedro Suarez is a young, motivated and ambitious homicide detective who is openly critical of Spain's past during the Franco dictatorship. His critical and direct attitude helps him to solve his cases but it also creates conflicts with his more conservative superiors which is the reason why he got sent away from the Spanish capital to the marshland. On the other side, Juan Robles seems to be a calm and sociable homicide detective who doesn't question his superiors and who gets along with local people which helps him to get more information than his colleague because people trust him and don't only see him as police officer. On the other side, he can get quite brutal and emotional at times and seems to have a shady past as well as a dark future.

Another convincing element of this movie is its mixture of genres. Even though it is mainly a thriller and focuses on a story with a few gruesome twists, this movie is also the portrait of a country that is going through important changes. The movie takes places in the early eighties, just a few years after the end of the brutal Franco dictatorship. Some characters desire to embrace democracy, move on and open the country towards the world. Others are still stuck in the old system and use bribes, corruption and violence to become or remain influential. Some characters seem to be lost between both worlds as they face demons from the past but are also afraid of what lies ahead. This movie is an authentic drama, historical portrait and character study all at once. It's also a road movie as the main characters walk, drive or take the boat to investigate their case in the marshland numerous times.

To keep it short, Marshland is a very convincing thriller that stands out thanks to a coherent yet diversified mixture of genres, two very interesting and profound main characters portrayed by the excellent actors Raul Arevalo and Javier Gutierrez and atmospheric, charismatic and unique landscapes and locations. La Isla Minima is one of the very best thrillers in recent memory and I would definitely recommend it and watch it again myself.

Alberto Rodriguez' film 'Marshland' tells the story of a grizzly murder in a remote deltaic region shortly after the fall of Franco. With its combination of atmospheric setting, an insular community, and post-fascist politics, it should be gripping. But it's a low-budget and (mostly) low-key affair, the exposition of the plot isn't always crystal clear and the integration of the political backstory with the foreground plot is underdeveloped. I've seen worse films, but I was hoping for more here, and didn't find it.

In the best sense a clear and straightforward crime story. No whistles and bells - at all - but also no massive twist or surprise at any point. The photography and shots are very well done and capture the time and local flavor perfectly. a side note which I personally found irritating. The Excessive use of animals / dead animals. Not sure if this was necessary from a story telling POV.

It's an average crime thriller with a strong atmosphere that hides its outstanding lack of originality. Some loose ends. An unwarranted sub-story about police corruption and the heritage of Franco's regime: what was the purpose of it? Overall it's more of a tv product than a movie.