Piggy is committed to its framework and characters, but it hasn’t settled on a primary genre.  Actually, as confusing as it is, the story tries to make its main character the genre which, you can imagine, poses issues.

Writer/director Carlota Pereda (expanding on her short film of the same name) tells a tightly-wound story of harassment gone awry when a serial killer gets himself involved with the ongoing torment towards teen Sara (Laura Galán).  Sara is teased for her weight and general reclusiveness (which includes spending most of her time assisting with her family’s butchering business).  When one of the bullies is kidnapped and Sara witnesses it, she turns down the chance to rescue her peer.  But as the night unfolds, the tension grows as search parties are formed, and Sara finds herself communicating with the killer more than she expected to.

By having the movie take place within a 24-hour period, Pereda adds urgency to the narrative which benefits both the danger and the overall exhaustion everyone feels throughout the evening until the sun rises.  It’s a brilliant move from the filmmaker that showcases her perception of time.  But aside from genuine settings and its ruthless depiction of harassment towards Sara, Piggy lacks coherency in its footing.

As great as Galán is as the lead, she can’t carry the weight of the movie.  That isn’t a dig towards her performance, but rather a note towards the directorial vision.  There are times when Piggy resembles a horror-thriller (notably a slasher flick), but it also wants to act as a character drama.  Those two genres pair well when they’re working together, not when a movie is toggling between both gears.  Especially when the horror elements have the look and feel of exploitation cinema.  It’s not just a jarring shift in tone, it’s whiplash for the audience.


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