‘Subsuelo’: Oscar-Nominated Editor Fernando Franco Rocks Spain’s Valladolid Fest With a Tale of Death, Abuse and Revenge

Over the last 30 years, Spain has stood out in Europe for its exceptional output in the smart genre cinema. Early examples include notable titles such as *The Orphanage*, *Pan’s Labyrinth*, and *Open Your Eyes*. From its reception this weekend, Spanish critics may soon be adding another title to Spain’s illustrious auteur genre canon: *Subsuelo*.

*Subsuelo* is the fourth feature directed by Fernando Franco, a San Sebastián Special Jury Prize winner for 2013’s *Wounded* and the editor of the Oscar-nominated *Robot Dreams*. World sales for the film are being handled by Elle Driver. A newly released clip offers a glimpse of the movie’s distinctive style, which is one reason why the film has received an upbeat reaction from Spanish reviewers. The newspaper *El Mundo* hailed *Subsuelo* as a “deep and highly disturbing thriller.”

Franco has carved out a reputation for addressing challenging themes in his work. His previous films explore subjects such as borderline personality disorder in *Wounded*, the process of dying in 2017’s *Morir*, and sexual assistance for a cerebral palsy sufferer in 2022’s *The Rite of Spring*.

Produced by Lazona, Kowalski Films, Ferdydurke Films, and Blizzard Films AIE in collaboration with Cinekdoque, *Subsuelo* begins on a bright note at a lovely country chalet where two families are sharing a dinner. Javier (played by Itzan Escamilla of *Elite*), the teen son of the visiting family, is sent out to drive for ice, accompanied by twins Eva (Julia Martínez from *The Vow*) and Fabián (Diego Garisa from *Welcome to Eden*).

A tragic car crash leaves Javier dead and Fabián paralyzed from the waist down, an event that haunts the entire film. In the clip, Eva—who was driving at the time, a fact her mother conceals—goes out for a New Year’s Eve date with Ramón (Nacho Sánchez from *Manticore*), Javier’s older brother.

The film’s neo-noir aesthetic unfolds throughout the clip, with Eva’s face visible through a taxi window dappled by city lights and shadows. Eva and Ramón are clearly smitten with each other, but other, more complex emotions may be at play. Ramón appears determined to uncover the truth behind the accident, while Eva gradually realizes that Ramón could protect her from the pathologically abusive Fabián.

At one point in the club, the vocalist on stage sings, “The pact is closed. It’s time for action.” When Ramón and Eva leave the club, they should feel happy. Instead, the film’s pervasive oppressive music continues to play, underscoring the dark tone that runs throughout *Subsuelo*.
https://variety.com/2025/film/global/valladolid-fernando-franco-subsuelo-1236564387/

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