Glass
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Glass

Glass M. Night Shyamalan went from being an illustrious stranger to little less than a canonical director after Sixth Glass Sense, The Protege and Signs, to then rampage for a decade with films that, while still capable of sustaining the tension into a physical sensation, oscillated between the political argument for dummies (The village) and an ecofriendly and solemn spirituality (The lady of the water, The end of the times, After the Earth). In between, that inexplicable nonsense called The Last Airbender. But when his career seemed unbridled, Shyamalan put the bombast behind him and filmed The Guests, a horror comedy (or a comic horror?) That turned around the clichés of “home-made” cinema. It was a first step towards a less ambitious and lower budget cinema that continued with the psychological thriller Fragmented, about a man who was a victim of “multiple personality disorder.” The boy did not have two or three identities; He was 24. The last of them, the Beast, serves the director to cross this character with that of The Protected and close a trilogy that was never intended as such.

As if Shyamalan suffered from the same syndrome as the protagonist of Fragmented, the film appears to have been directed by two filmmakers. The first is one who is fully aware of his cinematographic tools, someone who uses the power of images and sounds to create an uncomfortable atmosphere around the same psychiatric encounter of David (Bruce Willis), Kevin and their gallery of personalities (James McAvoy ) and Elijah Price (Samuel Jackson), who calls himself Mr. Glass due to a disease that turns his bones into pieces more fragile than a glass goblet. Who came up with bringing them all together? Patience, because everything will be explained later. For now, there is talk of the part of Glass by a director who tries to make a film that orbits less around the viability of the heroic in the real world than the limits of sanity, a kind of mixture between the universe of minds Twisted by David Fincher – perhaps the contemporary filmmaker most interested in the thousand and one possible forms of madness – and Trapped with no exit, with the exception that the hospital is only a location and not an element that contributes to the alteration of those who inhabit it.