Page 67 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945

C H A P T E R 4
V I O L E N C E , T I M I N G A N D T H E C O M E D Y T E A M I N
ALEX D E L A I G L E S I A ' S M U E R T O S D E R I S A

Dona M. Kercher 1

INTRODUCTION

Among current Spanish directors, Alex de la Iglesia represents the changing place of film in a
multimedia global environment. This is due, in part, to his unique background. After receiving a
degree in philosophy from Deusto, he drew comics for the magazine Trokola and various newspapers.2
Meanwhile, he also worked as an artistic director in theatre and television productions. He has
maintained a consistent technological look throughout his six feature films to date. This chapter
focuses on how Alex de la Iglesia historicises the political (the local) and the technological (the global)
in novel ways. Before paying attention to one of his most ambitious projects yet, Muertos de risa
(Dying of Laughter, 1999), we need to underscore de la Iglesia's cinematic profile.
His most recent film, 800 Balas (800 Bullets, 2002), opened to wide acclaim, displaying his
trademark wild and surreal humour, grotesque violence and the social subtext of almost all of his

53