Nowhere

Albert Pintó’s trap is a box: a woman climbs into a shipping container and the film keeps her there. Everything the plot uses comes off the cargo manifest, which is specific: food storage boxes, packaged earphones, flatscreen televisions, bottled vodka, hooded tops. She stitches a deep gash in her leg with parts stripped from the televisions, cleans it with the vodka, and drills through the roof as the water rises. Three rigs were built. A dry container went up on a soundstage, able to move and spin hard. A second, wet container sat over a swimming pool and was lowered into it as the fictional days passed, so the water climbed. For the moment she opens the container, the crew took a real one out to sea. The port of Tarragona is among the locations. Anna Castillo is alone on screen for nearly all of it. She wore a prosthetic belly weighing 8 kilograms and has said some of the blows were real because everything was moving so much. Smoke on the set gave her a fever and filming was paused. A good fit if you want an escape plan bounded by an inventory, every solution drawn from that list. Not for anyone who will struggle with a birth scene and a newborn in danger, held for a long stretch.