Aguas Verdes

Aguas Verdes is the name of the seaside resort where Juan plans to spend the summer holiday with his wife and two children. But on their way there things start to go wrong: The first alarm bells go off in Juanʼs head when he sees his teenage daughter Laura talking to a young man at the filling station. And once they arrive things only get worse. Sexual temptation is everywhere: naked skin being lasciviously rubbed with sun cream, muscular young men, used condoms carelessly thrown away – and then on top of everything else Roberto, the Adonis from the filling station, turns up. Instead of lazy daydreaming on the beach Juan is consumed by fears of being pushed aside by his family and not being able to protect his daughter from lurking dangers. His wife, well-schooled in Freudian theory, explains to him that his fears are merely a projection of his desire for sex with another woman and urges him to go to a therapist, but Juan ignores her. The camera appears to agree with Juan. With increasing frequency it shares his grotesque-neurotic perspective, and in the classic suspense-movie style of past eras the film score evokes the inner life of a paranoid who is capable of anything.