The Coffee Table begins with a heated scene that will echo throughout the film. A couple crêche the chignon in the middle of one of these peripheral shops. In front of them, a trader determined to sell them a filthy coffee table. The unfortunate ignores the tone that raises and multiplies the risky arguments to finalise its sale of pacotille: « It's Chinese craftsmanship » He dares. « Unbreakable Hey! » He adds. But the husband is determined to buy the charm for once that he can have the last word, he who left his wife Cristina named their child fascist. And yet this coffee table will cost him dear. Dear...
Make children they said...
Worn by the finesse of these chiseled dialogues, black humour is drawn and flickered as situations arise. A domestic incident as sinister as improbable will reduce the torque to the impossible. Left alone for the first time with the baby, Jesus (who bears his name well) will suffer the martyr as a result of an unforgivable mistake. A false step while he was rocking the small and the unfortunate vaunting creature will cross the bay window of the coffee table! Stupid and trembling for part of the room, laughter to the throat spread for the author of his lines. We know how the fatality of black humour is not accessible to all audiences... Little Gregory, who is in heaven, isn't it said that every day in « a gin tear and a river of tonic » ?
Immersed in denial, traumatized, Jesus will wallow in silence and denial, until he hides his package. What could he say to his wife anyway? « Honey, I beheaded the baby... » No time for mourning, we must act, hide misery. Cristina is about to go home and they are waiting for her brother and new girlfriend for a dinner that is promised to be unforgettable. Trash humor lovers, The Coffee Table I think you should get in the eye.
Each scene is at double reading level with a guilty pleasure as irreverent as insolent. The viewer is made complicit in the crime while the guests and the own wife of Jesus do not doubt anything, thinking that the little one sleeps peacefully. From the perspective of Jesus, it is a permanent cross path that reminds him at every moment of his evil fate. Designed as a closed house, the film Caye Casas is a black tragedy that draws heavily from the situational horror and comical empathy of this obscene dinner. It is also necessary to salute the game of actors just fine.
The fine lines of black humour will savor every moment, while the direction taken by the fim from the initial sale is anticipated. By playing skillfully with the spectator, the Spanish director here signs a film that is deeply enjoyable and that will not please everyone – to understand people who do not know how to show irony in the face of horror. Written with finesse, this is one of our favourites at the festival. A radical film that exhausts its concept until the outcome where all the axes join for the apotheosis. A jubilatory fireworks!
Our criticism of the FEFFS The Coffee Table
Caye Casas, director of The Coffee Table
Caye Casas had already been noticed at the BIFF with his film Killing God (2017), a comedy where a dwarf arrives in a house and pretends to be the Almighty. A fan of black and customary blasphemy humour, Caye Casas likes to jostle genre codes. Having already received many awards for these shorts like his feature films, he won the crossovers competition at FEFFS with his latest film The Coffee Table.Â
Filmography
- 2022 The Coffee Table
- 2020 Asylum: Twisted Horror & Fantasy Tales
- 2017 RIP
- 2017 Killing God
- 2015 No es lo que parece
- 2014 Nothing Co.
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