The invocation of enver simaku
Official trailer – the invocation of enver simaku
During the communist dictatorship of Enver Hoxha, religion was forbidden to the extent that Article 37 of its 1976 Constitution established that the State should be in charge of «fostering atheism in the population». To this end, the Albanian regime created a mysterious counter-paranormal police brigade to investigate and combat the practice of any religious rite or invocation of the dead, under penalty of imprisonment, isolation or deportation. The existence of this unit to combat the afterlife is the basis of the debut film by Marco Lledó Escartín (Alicante, 1984), ‘The invocation of Enver Simaku’, a surprising combination of diabolical possessions and political-religious parable set in Albania, a paradigm of the hermetic and enigmatic.
Earlier, in 2006, he had made his first visit to the country. He was on Erasmus in Germany and embarked on the adventure of a car trip through the Balkans. «I arrived in Albania and thought I wanted to leave, what was I doing there? But I couldn’t leave, because you read terrible things in the Lonely Planet, like that you’d better not drive at night because there were still muggers on the roads. In the end I stayed and I was completely hooked&rdquor, he recalls.
La invocación de enver simaku teaser trailer
La invocación de Enver Simaku es una película de terror sobrenatural, fuera de lo común pero extrañamente convincente, que en el mejor de los casos es maravillosamente distintiva y en el peor es pretenciosa, pero su ambición hace que nunca sea aburrida. El concepto de esta pequeña obra de culto ambientada en Albania -un hombre busca resolver el misterio de la muerte de su esposa durante un levantamiento político- es bastante sencillo, pero el director debutante Marco Lledó Escartín lo retuerce en todo tipo de formas interesantes, terminando con un popurrí defectuoso pero atractivo de thriller, metraje encontrado e historia política que se deleita satisfactoriamente en su propia rareza y se niega a ser atado por consideraciones de género.
Más allá de los territorios de producción, es probable que el interés por Simaku se limite a los festivales de terror de nicho. Sin embargo, en Albania (un país que realiza dos o tres estrenos nacionales al año), su estreno a finales de abril ha sido todo un acontecimiento mediático.
La voz en off del actor alemán (y residente en España) Julien J. Blaschke, cargada de fatalidad, sugiere desde el principio que visitaremos algunos lugares oscuros literales y metafóricos. Los lugares oscuros se encuentran en Albania, donde en 1997, el periodista de televisión Julien (Blaschke) está grabando un documental de televisión con su compañera Angela. Al oír disparos en la calle, salen corriendo y se encuentran en medio de disturbios, y Angela es asesinada. Las imágenes son históricas, y Lledó Escartín es ampliamente fiel a los hechos, ya que a principios de 1997 tuvo lugar una guerra civil en el país, que provocó el derrocamiento del gobierno y unos 2.000 muertos.
«the invocation of enver simaku»[2018](spain-albania).
Albania 1997. A video image, ghostly and deteriorated, unveils and haunts Julien every night. Almost two decades after the murder of his wife Angela, Julien returns to Albania determined to investigate her mysterious death, amidst a sea of impossible recordings, police files and visions of the Afterlife.
He studied fine arts at the Polytechnic University of Valencia and at the TAI film school in Madrid, where he worked in the production department. The Invocation of Enver Simaku is his first film.
The invocation of enver simaku – trailer with english subtitles
Julien returns to Albania with the determination to clarify the reason why his wife Angela died. To do so, he relies on the collaboration of all kinds of characters from the present-day Albanian population who, through obscure audiovisual records, police archives and visions of the afterlife, try to help his understanding, until fear releases terror once again.
We suppose that Marco Lledó Escartín did not intend to do so much, as it falls somewhere between the above mentioned and a crude dramatization that has as a backdrop satanic possessions coming from the always «electrifying» Albania.
Julien returns to Albania with the determination to clarify the reason why his wife Angela died. To do so, he relies on the collaboration of all kinds of characters from the present-day Albanian population who, through obscure audio-visual recordings, are able to help him,
