A pair of newlyweds must fight to survive when their wedding reception descends into chaos and carnage when their guests become infected by a virus that turns them into hungry zombies.
Spain, 1937. Ramón Mercader, a young communist combatant, is recruited and trained by the Soviet intelligence service to participate in a top secret mission ordered by the ruthless dictator Joseph Stalin: the assassination of his former political rival, Leon Trotsky, who is living in exile in Mexico.
El Mort Viu portraits the Gifra family: the father, Joan, unmotivated and unemployed, a passionate follower of Saint Rabuci; Marc, the ever-angry older brother, a hard-working yet embittered man who has taken the reigns of the family; and the problematic younger son Llàtzer, a NEET parasite that feeds on the decline of his family and the birth of a monster settling in a very peculiar town, between dramedy and fantasy, through the filter of Spanish tradition of very dark humor.
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This latest feature from the eccentrically experimental Catalan director Portabella is a beautiful, sometimes faintly bonkers celebration and contemplation of the role Bach’s music plays in the world today. Blending historical reconstruction with very loosely linked ‘dramatic’ scenes and documentary sequences, the film constitutes a playful, painterly sequence of variations on the argument that Johann Sebastian changed the way the world hears thanks to his extraordinary ear for harmony.
