![]() The director said so himself, expressly citing the Call of Cthulhu campaigns The Masks of Nyarlathotep and Tatters of the King. Photo: HBOģ0 Coins is structured like a tabletop role-playing game, with subplots following each other in a narrative that eventually reveals their close connections. But de la Iglesia and his longtime screenwriting partner Jorge Guerricaechevarría obviously have other plans. This premise could have unfolded in myriad ways, and most writers would probably have gone down the Dan Brown path. They think whoever manages to find them will possess the ultimate power, making them a prize more coveted even than the Spear of Longinus or the Holy Chalice. In 30 Coins, the Gnostic sect of Cainites have become more powerful than ever, and they’re searching for the 30 coins paid to Judas for Christ’s betrayal. The show’s premise is simple: some believe that the truth always resided in the Gospel of Judas, an apocryphal, forbidden Gnostic text that calls for a complete re-evaluation of the Christian faith - namely that Judas never betrayed Christ, but acted precisely as the Son of God instructed. Quite the opposite: they invite viewers on a journey to discover where the battlefields of good vs. Never in the course of the show do the writers suggest that God or the devil aren’t real. But in spite of all the horrors, the director raises doubts: are the series’ events all the result of fear and paranoia, or actually one of the most horrifying incarnations of evil the horror genre has had to offer? John Carpenter’s The Thing is an obvious influence on some of the phenomenal monster designs. ![]() ![]() The town is ensnared in an everlasting fog, suffering events reminiscent of older horror tales from Spain and elsewhere ( The Vampires Night Orgy, the films of Paul Naschy, and so on). A character is sucked into the ground while dreaming, like in A Nightmare on Elm Street. The pilot episode slowly builds up atmosphere to eventually go the full Xtro route, with a dash of Larry Cohen’s It’s Alive! This opening season is full of cult horror cinema callbacks that are organically built into the narrative. They quickly blend the personal and the universal, thanks to pitch-perfect performances that never lose sight of their characters’ intimate motivations. That ensemble stands in for distinct sections of society: politics, law enforcement, religion, and so forth. His filmography has become a rich tapestry of subversive comedy that channels his favorite genres to challenge his audience’s expectations, in Spain and abroad.ģ0 Coins, or 30 Monedas in its original Spanish title, centers on three main characters: Father Vergara, the exorcist and ex-con priest Elena, the savvy and resourceful veterinarian and Paco, the town’s careful and unwilling mayor. And the weird, dark action dramas The Last Circus and Witching and Bitching showed the world how effortlessly he can combine heightened genre fare with a gut-wrenching emotional core. ![]() The comedic love letter to Westerns 800 Bullets explored the era of Spanish and spaghetti Westerns in a funny, heartfelt manner. His cult work ranges widely in tone and subject matter: the Christian end-of-the-world adventure The Day of the Beast redefined Spanish genre cinema and remains a beloved horror oddity. ![]() It’s a series of many treasures.ĭe la Iglesia has been churning out cult genre films for almost 30 years, from his 1993 science fiction comedy debut Mutant Action to his claustrophobic 2017 thriller The Bar. Christian mythology meets Lovecraftian terror in the latest genre-bending, endlessly entertaining effort from iconoclast Spanish filmmaker Álex de la Iglesia. Clearly, something is afoot in this eight-episode show about malevolent Christian forces trying to take control of a remote Spanish town, and eventually even the Vatican itself. Barely a few minutes into the HBO MAX series 30 Coins, viewers have already witnessed a cow giving birth to a human baby. ![]()
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