a scandalous political ‘thriller’ that does not shock us

Spanish cinematographic narrators do not lavish Thriller in French politicians like Emperor Code (2022). We have all the necessary social drama, but films that delve into the ins and outs of government life in this country are rare. A curious paradox, because what happens in regional and state parliaments and the comings and goings of parties feed daily conversations.

For this reason, when a film is released which deals with the functioning of what are called the state sewers, we decide to see how it went for Jorge Corira his fourth feature film after the year of the tick (2004), eighteen meals (2010) and Eroski paradise (2019). And frankly, the hour and forty-four minutes of Emperor CodeIt gives us mixed feelings.

Despite what he says is interesting and amazing by the methods of surveillance, control and pure blackmail that he describes and the rot that can hide under the old carpets of the buildings of the capital in which, it is assumed, civil servants work for the citizens. For this part, Jorge Coira and the author of the libretto, Jorge Guerricaechevarría, won us over.

‘Emperor Code’: an interesting story without great audiovisual energy

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What happens is that the curiosity aroused by the plot details of Emperor Code and the background they designate, capable of producing sincere indignation, cannot remove from the film a defect which, unfortunately, greatly reduces your efficiency arouse real concern in the spectators and leave an appropriate imprint on their minds, not necessarily indelible, but at least lasting.

As much as Sandra Sánchez, with a career not yet very prominent, strives for a refined and agile editing from the first sequence, the film by Jorge Coira, who has also directed a good number of episodes for television series such as I know who you are (2017), Iron (2019-2021) or next grated (2022), sins of a certain audiovisual weakness which he never recovers from.