Once Pablo falls, and the camera gets damaged a second time, sound becomes intermittent as it cuts in and out. The only sound for this petrifying scene comes from Angela's panicked breaths and whimpers, then through the inhuman screeches of the infected. This jarring, visual reveal of the infectious source packs a visceral punch. Balagueró and Plaza then fill that narrowed frame with a closer look at the ghoulish Tristana. Pablo, and the audience by proxy, can only make out parts of the penthouse at a time. First, they plunge the protagonists into complete darkness the night vision's scope is minimal.
Balagueró and Plaza up the ante for their grand finale by reducing the senses further. That constant unpredictability leaves viewers on edge. The filmmakers use the limited range of the handheld camera to create suspense throughout attacks by the infected can and do come from anywhere. The camera faces Ángela as she belly crawls toward the camera, only to get dragged away into the pitch black. She finds the camera but drops it again upon seeing Tristana bent over Pablo's body. It falls to the floor, capturing a frightened Ángela as she fumbles around on the floor, blindly searching for safety. Tristana attacks, pummeling Pablo to death and damaging the camera. Pablo tries to guide them to a safer distance, but they bump into something that alerts Tristana to their presence. He whispers to Ángela to stay quiet as the gaunt Tristana bangs around the place. While trying to calm a panicked Ángela, Pablo spies a now very emaciated Tristana (Javier Botet) moving about the room, looking for food. It leaves Ángela and Pablo in complete darkness until Pablo finds the night-vision mode on the camera. Pablo uses the camera to investigate, and an infected child knocks it down to the floor, damaging the camera's light in the process. Upon the revelation behind the contagion, the attic door swings down in the penthouse. The Vatican agent then sealed up the penthouse and left Tristana to die. While attempting to treat Tristana, the enzyme mutated and became infectious instead. He was tasked with isolating an enzyme by a demonically possessed girl, Tristana Medeiros. In it, they find the walls plastered with news clippings and a tape recording that reveals the penthouse owner to be an agent of the Vatican. Once Manu becomes bitten and infected and their path downstairs blocked by a horde of ravenous tenants, Ángela and Pablo seek shelter in the only place left – the darkened penthouse. Getting there, however, reduces their numbers to three Ángela, Pablo, and Manu.
The remaining group seeks out a key that will unlock a door in the basement, through which they can escape the quarantine undetected. Soon, another infected situation erupts that dwindles the numbers further while making it even more treacherous for the survivors. He reveals that a sick dog at the vet helped the authorities trace this unique infection back to the building, allowing for the swift quarantine. Soon, a health inspector in a hazmat suit arrives and attempts to treat the injured while assessing the situation. She speaks with a sickly child, Jennifer (Claudia Silva), who shares how her dog Max is sick and at the vet. More impressively, Balagueró and Plaza saved the best for last, ending their feature on such a shocking moment that it instantly became iconic.Īfter a few more deaths occur and Álex gets critically injured, Ángela begins to interview the residents. Moving at a breakneck speed, REC 's onslaught of scares rarely gave viewers time to catch their breath. Enter Jaume Balagueró and Paco Plaza's REC, a 2007 found footage film that reinvigorated the sub-genre with innovative use of its style that maximized the terror from beginning to end. It's a constant struggle in genre fare, with many fizzling out before reaching the finish line. When the mysterious unknown is inherently terrifying, tidy answers can retroactively make everything that came before un-scary. Narratively, though, the genre can struggle with satisfying payoffs. In horror, the last scene tends to offer stark relief or unsettling unease via one final scare. The final moments on screen should affect the viewer emotionally on some level. Ideal endings provide resolution and leave a lasting impression. In this edition: REC understands the importance of a satisfying payoff in horror, saving its most potent chill for last.) Endings matter. (Welcome to Scariest Scene Ever, a column dedicated to the most pulse-pounding moments in horror.
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