FROM:Cinenet 1996

Danger, suspicion and, of course, they are trying to find the murderer. There is a love story too. At the beginning of the film one can think that it is another crime story, but when you get into it, the rules of that this kind of genre changes and turns on throw an unusual plot. Possible victim’s last destiny is essentially different from other noir films. The audience attitude towards the murderer is different too because nobody wants a tragic end for him. All this facts make the difference between Gimlet and the rest of the crime pictures.

Scripts develop changes all the time, from a noir film to related obsessions, passions and different dualities.
José Luis Acosta said about the script: “The most important thing about films is the script. The rest of things and facts have to fit on it. The plot prevails over the form.” This plot is about a man that could find his salvation through a woman, who is the victim too. Gimlet has it's perfect voyeur, that is to say, actor Viggo Mortensen, who shot with his camera every Julia’s movement and, through Julia, one only can see his torso as a way of connection with her. The man has no chance to establish a relationship with this woman; therefore, he creates an imaginary and weak own world with Julia’s shootings.

This film is plenty of stile exercise, shooting with a strong visual image. Although it is not a perfect film, audience who wants a new experience has to see it.