Named as one of Variety’s top horror movies of the year so far and hailed by shock comic Anthony Jeselnik, Spanish import The Coffee Table is one hell of an unforgettable and disturbing experience.

Tensions are high between a frustrated husband, Jesús (David Pareja), and an exhausted wife, María (Estefanía de los Santos). Jesús claims he never gets to make any decisions, while his lack of responsibilities causes María to call him out on his selfish behaviour. As they begin a new chapter in their lives with their newborn baby, parenthood makes these unresolved issues come to a boil when Jesús is criticized by María for wanting to purchase an unnecessary and unappealing coffee table. Out of spite, Jesús makes the purchase to the pleasure of a persistent salesman (Eduardo Antuña). However, this petty purchase paired with the husband’s immaturity sets up an unexpected omen.

Any further reveals would be creating a disservice for this dramatic horror, and would remove elements of surprise and stress for the viewer. Though the synopsis sounds like The Coffee Table may be driven by something supernatural, it surely isn’t. All I can hint towards is this: the worst thing that could possibly happen in the hands of an irresponsible oaf happens.

Director Caye Casas, who co-wrote the movie with Cristina Borobia, has built a type of bizarre yet impressive “anti-movie” with The Coffee Table. Going for distressing situational horror instead of entertainment, the viewer is placed as close as possible to Jesús’ sudden, unbelievable trauma. Multiple scenes where the camera quietly observes Jesús as he tries to comprehend what happened makes us feel sick. These moments are then interrupted by outsider innocence, giving the emotional shock a dose of staggering absurdity by comments indirectly referencing the catastrophe. This jarring tonal taste continues throughout The Coffee Table as Jesús tries to hide evidence and stall the situation to think of an excuse, meanwhile the conversations that take place around him fill him with guilt.

This twisted comedy of manners is expertly performed and cunningly directed. The movie is able to simultaneously face discomfort while also juggling ambiguous details that are filled in along the way. Sideline drama between Jesús and underage neighbour Ruth (Gala Flores) seems like extra baggage at first, but is then used to describe how deceitful Jesús can be. Casas also doesn’t want to lead the audience on by reassuring viewers that The Coffee Table is going to lead to an inevitable, heartbreaking reveal. This respect towards the audience is appreciated, even though the cleaned-up epilogue is too cut and dry for a story this complicated and steeped in resent.

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Addison Wylie: @AddisonWylie