
Paulina Escobar is a political activist whose husband is a prominent lawyer in an unnamed South American country just out of a dictatorship. One day a storm forces her husband to ride home with a neighbor. That chance encounter brings up demons from her past, as she is convinced that the neighbor (Dr. Miranda) was part of the old fascist regime that tortured and raped her, while blindfolded. Paulina takes him captive to determine the truth. Paulina is torn between her psychol... (Full plot summary below)
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Paulina Escobar is a political activist whose husband is a prominent lawyer in an unnamed South American country just out of a dictatorship. One day a storm forces her husband to ride home with a neighbor. That chance encounter brings up demons from her past, as she is convinced that the neighbor (Dr. Miranda) was part of the old fascist regime that tortured and raped her, while blindfolded. Paulina takes him captive to determine the truth. Paulina is torn between her psychological repressions and somber memory, Gerardo is torn between his wife and the law, and Dr. Miranda is forced to endure captivity while husband and wife seek out the uncertain truth about the clouded past.
Leave your thoughts about Death and the Maiden.
| Chicago ReaderJonathan RosenbaumPolanski certainly gets the maximum voltage and precision out of his story and actors, keeping us preternaturally alert to shifting power relationships and delayed revelations. |
| Seattle Post-IntelligencerWilliam ArnoldDeath and the Maiden doesn't always escape its contraption origins, but it ends with one of the most honest-and poetic- reckonings of human evil in modern movies. It's Polanski braying at his own bitter moon. |
| Slant MagazineNick SchagerRoman Polanski's underappreciated 1994 thriller Death and the Maiden confronts a litany of moral conundrums regarding guilt, revenge, punishment, justice, and man's responsibility to himself and society. |
| Time OutGeoff AndrewPolanski wisely never opens out the action from the remote clifftop house. In keeping things claustrophobic, close-up and ambivalent, he heightens the suspense (not to mention the sexual tension). |
| EmanuelLevy.ComEmanuel LevyPolanksi's direction is crisp and precise but he doesn't resolve basic problems of the stage-to-screen transfer: The tale is claustrophobic (mostly limited to one set) and schematic, with all three characters serving as ideological mouthpieces. |
| Ozus' World Movie ReviewsDennis SchwartzIt's based on the gripping three-character play by Ariel Dorfman. |
| Austin ChronicleMarc SavlovDeath and the Maiden is a streamlined razor-ride of a movie: taut, riveting, and a psychological horror show that will leave nail-marks in your palms for days afterwards. |
| VarietyTodd McCarthyAs vivid and suspenseful as Roman Polanski has made this claustrophobic tale of a torture victim turning the tables on her putative tormentor, one is still left with a film in which each character represents a mouthpiece for an ideology. |
| San Francisco ChronicleMick LaSallePolanski directs the film without a wasting a moment. The occasional humor does nothing to relieve tension but, as in a Hitchcock picture, has a way of increasing it. |
| The New York TimesCaryn JamesMr. Polanski's brilliance with the camera turns Ariel Dorfman's well-meaning but pretentious play about human rights into a harrowing experience. |