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as Bosco Herranz
as Ángela Márquez
as Jorge Castro
as Sena Márquez
as Padre de Ángela
as Madre de Ángela
as Presentadora TV
as Conserje Videoteca
as Professor No. 1
as Professor No. 2
as Train Guard
as Old Man
Critic Reviews for Thesis
(The) director Alejandro Amenábar balances actual, terrifying visuals with Hitchcockian red herrings for one of the best debut films in years. The technology might be quaint, but the fear remains resonant.
Amenábar dodges the moral hysteria and hypocritical prurience that infected Joel Schumacher's 8mm three years later, and his cinephilia suffuses the film in mostly exciting ways.
Despite some whopping improbabilities - would snuff movie producers really hide their master tapes in a university storage room? -"Thesis" generates genuine tension
Tesis won't exactly knock the socks off of viewers; However, it is exceptionally acted, with all actors delivering solid performances and fully submitting to the demands of some of the more arduous action sequences.
A film that is terrifying when you want, that knows how to raise the production of adrenaline in the respectable with ease. [Full Review in Spanish]
mia filodoksi apopeira sholioy sti bia toy mesoy poy ypiretei [o skino8etis], ton tropo poy ayti hrisimopoieitai os opioyho skeyasma, kai etsi gia ton habale, ton symbolismo toy ergaleioy poy koybalaei ston omo toy (os ergaleio apokalypsis tis alitheias,
Audience Reviews for Thesis
Amenábar's low-budget debut stands out as the first display of his talent as both a writer and director, a suffocating thriller that is not only extremely tense and suspenseful but also respects the viewer's intelligence and keeps us always engaged.
First 48 Minutes were so bad, I threw it back in the mail to Netflix. 1 star 7-16-2013
I can understand why this brought Alejandro Amenabar to a fruitful career, but I really just thought this was a serviceable, brainless thriller. The one thing that irked me most is that Angela is simply one of the dumbest horror protagonists I've ever seen. She is vacant, unresourceful and a God-awful liar. For one, she NEVER calls the police, despite being embroiled in a steadily worsening snuff film situation; she has no compelling reason not to do so. None. When confronted by people who are suspicious of her snooping around, she stutters and says "no" a lot, or just repeats what they're saying to her. She has about two good ideas through the entire course of the film and it's kind of amazing that she even pulls these off. We are led to believe that Angela is an intelligent girl, but she shows us almost none of this, making one awful decision after the other. Angela's indiscretions serve to highlight some flaws in the plot - again, why does no one call the police? Why are the killers keeping their video tapes in the basement of the school, and how come so many people have access to this basement when security is presumably patrolling it? And ultimately, what compels Angela to try and solve this case herself? All we know is that she has a cursory interest in (though supposed disdain for) violence, but that offers no real reason for her not to get anyone else involved. This is a technically strong film with a decent message, though "obsession with violence in the media" is really old-hat by now. It's a far better delivery of the theme than Funny Games, I have to say it, and I'm sure it hit harder back in 1996. I guess this aged in a way that Se7en did; sensational pictures rarely seem to last very long.
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