Arrebato 2014

José Sirgado is a frustrated horror-film director and a heroin addict who exists in a tense, toxic relationship with Ana Turner. The story unfolds when Pedro, the cousin of José’s former partner Marta, unexpectedly sends him a reel of film, an audio cassette, and the key to Pedro’s apartment—despite the pair having met only twice before. As José and Ana listen, the audio cassette reveals a narration of those two previous encounters, which are then shown in flashback.

In the first encounter, José and Marta visit the family’s home to scout it as a potential filming location. Pedro, an obsessive maker of homemade films, shares a joint moment with José as they discuss time-lapse photography. He shows his personal home movies, films he has never let anyone else see, and later, José even mails Pedro an interval timer that would control a camera’s shutter to shoot at set intervals. The scene builds a sense of curiosity and creeping fixation, as Pedro’s passion for captured time begins to overlap with José’s own ambitions and addictions.

The second encounter centers on a return visit with Ana, during which Pedro gives Ana a Betty Boop doll that apparently belonged to her as a child. This small, intimate gift becomes a haunting prop within the growing mystery of Pedro’s films. Later, as José and Ana recall this visit, they decide to watch the mysterious reel of film while listening to the accompanying audio cassette, inching toward a revelation about Pedro’s life after receiving the interval timer.

On the tape, Pedro details a unsettling transformation. He narrates that one night after sleeping, his camera begins to film by itself. When he develops the footage, he discovers a single red frame where the image of him sleeping has vanished. The red frames multiply, and Pedro soon experiences a withdrawal-like need if the camera stops filming while he sleeps. Each awakening after filming brings a renewed sense of vitality and a feeling of being “enraptured,” as if whatever occurs in the red portions is responsible for that strange euphoria. Struck by this growing mystery, he asks his cousin Marta to watch him as he sleeps. In a chilling moment of the tape, as Marta watches, the camera pivots to face her, and she disappears from the frame. With only one frame left before the entire reel becomes red, the tension intensifies.

Pedro then sends the film, his explicit instructions, and the apartment key to José, urging him to come over and develop the final segment. José arrives to an empty apartment, and discovers the final film is entirely red except for a single frame showing Pedro’s face. The image begins to move, with Pedro gesturing toward the bed in a sly, almost conspiratorial smile, implying that José should allow the camera to film him as he sleeps as well. The frame blurs and shifts, eventually revealing José’s own face performing the same gesture. In the concluding sequence, José lies down on Pedro’s bed, stepping into the same ritual of sleep-filmed rapture that Pedro had pursued, leaving the audience with a chilling sense of how far obsession and withdrawal can drive someone when the lure of the red, captured moment becomes irresistible.