The Corpse of Anna Fritz Movie Review
Written by Giuseppe Infante
Released by Invincible Pictures
Directed by Hèctor Hernández Vicens
Written by Hèctor Hernández Vicens and Isaac P. Creus
2015, 76 minutes, Not Rated
Released on March 8th, 2016
Alba Ribas as Anna Fritz
Bernat Saumell as Javi
Cristian Valencia as Ivan
Albert Carbó as Pau
Anna Fritz is a world famous actress, working with the likes of Woody Allen, and has suddenly died. Pau is an orderly who works in the morgue at the hospital where her corpse resides. Pau texts a picture of her body to his buddies, Ivan and Javi, and in excitement the duo shows up at the hospital with booze and blow in tow. After convincing Pau to do some shots and lines with them, Ivan discusses having sex with Anna’s corpse and sways Pau into admitting he has committed necrophilic acts in the past. Javi protests their absurdity, but Ivan drops trousers and unloads on the corpse. Pau eventually follows suite, but with tender lovemaking. Then Anna’s eyes open; she’s alive.
Why would someone want to have sex with a corpse? Ivan and Pau are not terrible looking men, and can easily pick up a woman with a pulse at a local pub, but yet they defile Anna’s corpse. Drinking some alcohol and sniffing cocaine are not exactly going to automatically make someone do this, thus alluding to the men being some sort of broken inside. Javi’s moral compass gets squashed when asking about motives and trying to stop the lewd act. This cringing sequence of the film is utterly disturbing and made my face contort into many differing ghastly and nauseating poses. The blood and gore is at an absolute minimal in the film, but the young men’s acts of treachery personify evil way beyond seeing bodies mutilated and dismembered.
The Corpse of Anna Fritz succeeds in substantial vulgarity, as the characters endorse rape culture and necrophilia. Cristian Valencia portrays Ivan, the main culprit who exemplifies antipathy and repulsion. Albert Carbó does a solid job adding depth to Pau, who reminds me of a sad puppy dog. Pau is just as guilty as Ivan, if not worse of—this isn’t his first act of necrophilia—but I can’t help but feel bad for him by the end of the movie. The best acting comes from Alba Ribas as Anna Fritz. From dead corpse to live woman, her slow development back to life is interesting, especially when she first awakens. As she tries to avoid death again, Ivan tries to keep Anna from escaping the morgue and notifying authorities on what has transpired. This classic ‘cat and mouse’ adds thrills to the tale, giving hope that morality in life sometimes does prevail.
Aside from the context, The Corpse of Anna Fritz appears well-made and has a swift enough pacing that it does not feel drawn out and lagging. The hospital setting looks fantastic, but where are all the employees? If Anna Fritz is such a high regarded celebrity, why is her body left with a bumbling buffoon in Pau? I worked in a hospital for nine years, and on the slowest of shifts there are still employees occupying the hallways and corridors. People pass by to take specimens to the basement laboratory, they go in and out of coffee shops and other stores surrounding the facility, and family members of patients can be seen wandering around at times. This is never once alluded to by any means, except for the one random employee who pops up. The pacing could have taken a small sacrifice to explain and flesh out further why the hospital is so barren.
Although The Corpse of Anna Fritz is full of plot holes and necromance, it is juxtaposed with curiosity, redemption and hope, holding attention through the finale. With a little more cohesively put together logic, the film could have been on higher on the pedestal. Ultimately, the film is worth checking out if you are into disturbing atmospheres and repugnance— but don’t say I didn’t warn you.