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Cult Review
Archivist John
Senior Editor
If you're looking for something to watch tonight and you don't mind squinting at some grainy black-and-white footage, this might be for you. It’s definitely for the folks who like to dig into film history and see how people used to tell stories before everything got so loud.
If you need fast cars or things blowing up, you’re gonna hate this. It moves at the speed of a Sunday afternoon nap.
I found myself staring at the background details more than the actors sometimes. The furniture in the house looks so heavy and uncomfortable, like it was made to punish anyone who sat down.
Candida Beltrán Rendón is the one who made this happen. She was barely out of her teens and she’s writing, directing, and starring in the whole thing. 😲
That’s a lot for anyone to handle today, let alone in 1928. You can tell she really cared about the story, even if some of the scenes feel like they were filmed in a bit of a rush.
The plot is one of those old-fashioned melodramas. There’s a secret—obviously, it’s in the title—and it involves the grandma and some family tension that feels very specific to that time.
There is this one shot where the camera just stays on a letter for what feels like five minutes. I actually had time to get up and grab a glass of water and the letter was still there when I got back.
It’s not quite as weird as something like The Monster but it has that same eerie, silent vibe where every shadow feels a bit too long. 🕯️
The acting is... well, it’s silent film acting. Lots of big eyes and clutching of chests to show that someone is sad or shocked.
Milagros Leal has this way of looking off-camera that makes you wonder if someone was actually standing there or if she was just thinking about lunch. It’s kind of charming in a weird way.
I noticed a stray hair on the lens in one scene. It just stayed there, wiggling in the corner of the frame while the characters were having a very serious moment.
It’s little things like that that make me love these old movies. They feel real and messy, unlike the polished stuff we get now that looks like it was made in a factory.
There’s a bit of a lull in the middle where I wasn't sure if the story was actually going anywhere. It felt a bit like The Reapers in how it just sort of wanders through the daily lives of the characters for a bit.
The lighting in the indoor scenes are a bit dark. Like, really dark. I think they might have only had one or two lamps for the whole set.
It adds to the mood, though. It makes the house feel like a place where secrets actually live.
I kept thinking about Interference while watching this, mostly because of how much focus there is on the small gestures. A hand on a shoulder means so much more when nobody is talking.
The grandmother character is played by someone who really knows how to look disappointed. If my grandma looked at me like that, I’d probably confess to things I didn’t even do. 👵
There is a scene near the end where the tension finally breaks. It’s not a huge explosion or a fight, but just a look between two people that changes everything.
I wish the print was in better shape. Some parts are so scratched up it looks like it’s raining inside the house.
But maybe that’s part of the appeal? It feels like you’re looking at a ghost of a movie.
If you’ve seen Around the World in 80 Days and wanted something that felt much smaller and more personal, this is a good pivot. It’s the opposite of a spectacle.
I did find myself checking my phone once or twice during the long title cards. Some of the dialogue they wrote out is a bit wordy for a movie you have to read.
The way they dress is fascinating. The hats! People really used to walk around with these giant things on their heads and act like it was normal.
It reminded me of the costumes in Apaches of Paris, though obviously with a much more Mexican flavor. The textures of the shawls and the suits are so clear even in the low quality.
Is it a masterpiece? Probably not. It’s a bit clunky in the way it transitions between scenes.
But for a 1928 film made by a young woman basically doing it all herself? It’s pretty impressive.
It’s got more heart than half the stuff on Netflix right now. You can feel the effort in every frame, even the ones that don't quite work.
I wonder what Candida thought when she finally saw it projected. I bet she noticed all the same little mistakes I did, but I hope she was proud of it.
There’s this one sequence with a garden that is actually quite beautiful. The way the light hits the leaves makes it look like a painting for a second.
Then it cuts back to the dark house and the drama starts up again. It’s a nice little break from the heavy stuff.
The music on the version I watched was a bit much. It was very loud and dramatic even when people were just eating soup. 🥣
I ended up turning the volume down and just watching it in silence. It actually felt more powerful that way.
If you’re into the history of how women got their start behind the camera, you really should check this out. It’s a piece of a puzzle that usually gets ignored.
It’s not as polished as Within the Law, but it has a raw energy that I really liked. It feels like a first draft of a dream.
Anyway, give it a look if you have an hour and a half and want to travel back in time. Just don't expect it to explain everything to you right away.
Sometimes the secret is better left as a mystery for a while. That’s what makes the ending stick with you, I guess.
I’m still thinking about that grandmother's face. She really had the best 'I know what you did' look in cinema history.
Not a bad way to spend an evening. Just make sure you have some snacks because reading all those cards makes you hungry. 🍿
IMDb —
1920
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