They're Watching Us (2002)

People are voting emotionally.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Nos Miran is a very good and interesting film that has creepy elements but it is not the all-out horror some people do not like. It is similar to The Sixth Sense, and like The Sixth Sense it gives us something to think about for days.... or months.... or possibly years. I have watched it six times, and every time I like it a lot. It does not start very fast, but it is interesting from beginning to end. I enjoy it very much, and if you like films like The Sixth Sense, you cannot leave Nos Miran out of your life.(This review was originally written by me in Spanish and then I translated it to English. Because of differences between the languages, some parts of the review may sound choppy.... I am not a professional translator, but I translated my original Spanish review to English to the best of my ability. I am putting this in the review in protest that IMDb.com would not allow me to submit a review that had both the Spanish and this English translation, despite the movie being in Spanish and my desire to allow people who may primarily speak Spanish to understand my review better.)

Spain's horror film industry had a huge comeback in the 90s with directors such as Alex De La Iglesia, Jaume Balagueró and specially, Alejandro Amenábar; a generation of young directors that demonstrated that there was a lot more in Spain besides Pedro Almodóvar's famous melodramas. The nightmarish nights of Spain's big cities, the grim Gothic memories of the country's past and that characteristic black humor that Spaniards domain very well, have become the ingredients of the dark fantasies of Spain's new horror films, and started a school that has begun to give fruits. Director Norberto López Amado is one of this fruits as "Nos Miran", his first film, is an excellent effort in the horror genre that shows the evolution to what Amenábar, Balagueró and De La Iglesia started more than 10 years ago.In "Nos Miran", Carmelo Gómez plays Juan García, an excellent detective who has been assigned the Barreiros case, one of the most famous unsolved mysteries in the story of the Police Department: the case of a man who one day simply vanished without leaving a trace. While at first it seems as an easy case of a missing person, the mystery surrounding brings back Juan's memories of his own sister Sara (Eva Llobregat), who as a girl disappeared in eerily similar circumstances, and Juan begins to descent into an spiral of madness and obsession. As Juan's investigation takes him to the field of occultism, his wife Julia (Icíar Bollaín) fears that his husband will face the same fate as the previous Detective in charge of the Barreiros case, Detective Medina (Karra Elejalde), who is now an inmate in the local asylum, unable to say anything else besides "they are watching us".Written by Jorge Guerricaechevarría (famous by his work with Alex De La Iglesia) and based on a novel by Javier García Sánchez, "Nos Miran" is at first a police mystery with noir undertones, but soon it begins to descent into darkness as the plot thickens and the horror elements begin to take over. While it may not be the most original mix, Guerricaechevarría offers an effective and captivating story that toys with the duality of sanity and madness, and where reality is never what it seems. Almost void of his usual black humor, "Nos Miran" is a serious Gothic horror where the very real horrors of the urban nightmare collide with the supernatural.Director Norberto López Amado shows an amazing talent for a first time director, as everything seems to be in the right place to create an effective horror film. The remarkable use of the camera to create an atmosphere of dread is one of the film's main assets, as well as the eerie score (by Bingen Mendizábal) that almost always sets the perfect mood for every scene. While it's true that López Amado shows the influence of those who came before him (mainly Amenábar's), the touch of film noir he adds to film suits as a glove the police drama part of the story and truly makes "Nos Miran" to be something more than a derivative Gothic horror.As many critics have said before, Carmelo Gómez is truly at his best in this movie, as he truly becomes this troubled complex character in a frighteningly believable performance that certainly is the highlight of the movie. As the film is focused completely on Gómez character, there is little room for the supporting characters to developed, however, some of the supporting actors do stand out, mainly the kids Carolina Petterson and the young Javier González (who is also in "El Espinazo del Diablo"), who give terrific performance for their young age. Icíar Bollaín also gives an effective acting, but she is definitely overshadowed by Gómez. The excellent Margarita Lozano appears in a small role, but her screen time is very limited and it could even be considered as a cameo.While "Nos Miran" has apparently all the ingredients for an excellent film, it's main problem is the fact that it truly feels derivative and unoriginal. Guerricaechevarría's take on García's novel focuses more on the mystery instead of its effects (as the novel does), and the Detective's madness is an angle not fully explored (a missed chance, in my opinion). While the lack of Guerricaechevarría's usual comedy does help to enhance the movie's atmosphere, it also creates some tedious moments where the slow pace of the film feels unpleasant.Despite having these flaws, "Nos Miran" is another excellent horror film from Spain, and a proud example of what seems to be a Renaissance of horror in the land of Cervantes. Like "Romasanta", "Palabras Encadenadas" or "El Espinazo del Diablo", this movie seems to prove that modern horror not only comes from Asia. Hopefully, we'll be hearing more from both Norberto López Amado and Carmelo Gómez. 7/10

Amenabar 's "los ostros" (the others) is now a milestone for Spanish directors .That film overshadows every other work of the last ten years as a complete and perfect fantasy and horror film.(and Amenabar's two precedent films are at least as important and innovative) "Nos miran" is a decent attempt.His main subject -the dead are watching us and are jealous of us cause they are no longer part of the game- is ambitious and the director is not always up to scratch: the subway/train trick was already used too many times ("Jacob's ladder" ,the Spanish "Art of Dying" which is cast in the same mold ,or Autant-Lara's "Marguerite de la nuit").However the writers have included interesting elements: the cop's own story,the grandma who seems to know more things than she claims.And ,mainly in the first part,the director does not forget to show some ambiguity: everything can only happen in the hero's mind.Fortunately,special effects are kept to the minimum,which builds a threatening atmosphere.Not bad.

A police detective reopens a case about the mysterious disappearance of an important businessman and he finds out there's more to this bizarre case than he first thought. Where he discovers the previous cop that was on this case is in a mental hospital, he himself is starting to get manipulated and starts seeing people in reflections that aren't really there. Is it another dimension where the strange beings roam and what does all this got to do with his childhood.This pretty much could've been a pearler of a film, but, yep but it ended up being tiredly underwhelming. This is because the whole mystery of this case slowly fades into tedium after the great first hour and the ending just lacked creditability. Although, that's just me. I thought is just copped out and took a sudden turn that didn't fit in the overall picture. Some might say it was a perfect way to end it, but that's my thought. I'll admit the film doesn't break any new ground, but it's slickly produced, with its incredibly well done direction and disquieting locations. The air is thick of atmosphere, a very unsettling awe that builds from the gloomy and cold settings. That of the cinematography, which covered these settings was truly striking by making you feel as if you were right there. While, the faint hearted score that prominently sinks into the film, just eats away at you. It puts you into a daze of discomfort and totally unhinges you. The story is what kinda derailed it for me. The supernatural touch is constructed into it beautifully, by painting an uncertain picture that seems to haunt you by mixing reality with the spirit world and implying we're being watched all the time. Leaving the door open for different interpretations. The actual topic of people disappearing without a trace and that's means everything they left behind still in the same spot is indeed scary and it does chill you to the bone. It's driven by its mysterious plot and the confronting script that pulls you along for the ride. Although, the more I learned about what was happening, the less I seemed to actually care. It benefit from not having any jump scares, but still it was predictable to know if something was going to happen and after the tight first half it just dwindle in an unconvincing fashion throughout the final scenes. The performances were good and Carmelo Gomez as the police inspector conveys a figure that you care for and truly believe with the emotions he goes through. He is one of the things that keep you wrapped in the dim story.I'm glad I took the chance on watching it, but I'll say seek out "The Nameless" instead, which is more a tailor made mystery that's truly disturbing. Overall, an okay horror mystery that has some class and pours in some interesting ideas into this chilling subject.