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When Christopher Hampton's political drama was first screened at 2003's Venice Film Festival it drove critics to jeers. No surprise given its ham-fisted attempt to provide a real-life tragedy with a paranormal slant.
In '70s Buenos Aires, outspoken journo Emma Thompson joins the ranks of the `disappeared', dissidents abducted and abused by the fascist junta. Cue hubby Antonio Banderas' discovery of a sixth sense that allows him to trace her path via flamingos and owls. Flamingos? Owls? In an escapist chiller, maybe. But against a historical backdrop in which 30,000 were kidnapped and killed? Uh-uh.
At best, all this second-sight shite forms an awkward statement on the imagination's ability to ease the pain in terrible times. But at worst it's howlingly incongruous, as when Hampton cuts in harrowing scenes of Thompson and teen daughter Leticia Dolera being raped and tortured. The performances are credible, but if you want our advice, give your ticket dosh to Amnesty instead.
Ex-Bethesda dev turned indie says "good things often happen by accident," like that time Skyrim players convinced themselves the RPG's foxes were leading them to treasure
Palworld dev says the studio went dark for months because "the team was getting burnt out from all the social media stuff, I was getting burnt out, our CEO was under attack in Japan"
Metaphor: ReFantazio had to dial back an early battle system inspired by a notoriously brutal 2003 JRPG, because 20 years later, players found it "irrational" and "just not fun"
