The Body (Spanish: El cuerpo) is a 2012 Spanish crime thriller mystery film directed by Oriol Paulo. The plot follows a detective searching for the body of a femme fatale which has gone missing from a morgue.
the film was primarily inspired by del Toro’s childhood memories of seeing Creature from the Black Lagoon and wanting to see Gill-man and Kay Lawrence (played by Julie Adams) succeed in their romance.
In an interview with IndieWire about the film, del Toro said, “This movie is a healing movie for me. … For nine movies I rephrased the fears of my childhood, the dreams of my childhood, and this is the first time I speak as an adult, about something that worries me as an adult. I speak about trust, otherness, sex, love, where we’re going. These are not concerns that I had when I was nine or seven.”
Drowning by Numbers is a 1988 British-Dutch film directed by Peter Greenaway.
The film’s plot centres on three married women — a grandmother, her daughter, and her niece — each named Cissie Colpitts. As the story progresses, each woman successively drowns her husband. The three Cissie Colpittses are played by Joan Plowright, Juliet Stevenson and Joely Richardson, while Bernard Hill plays the coroner, Madgett, who is cajoled into covering up the three crimes.
The structure, with similar stories repeated three times, is reminiscent of a fairy tale, most specifically ‘The Billy Goats Gruff‘, because Madgett is constantly promised greater rewards as he tries his luck with each of the Cissies in turn. The link to folklore is further established by Madgett’s son Smut, who recites the rules of various unusual games played by the characters as if they were ancient traditions. Many of these games are invented for the film, including:
Bees in the Trees
Dawn Card Castles
Deadman’s Catch
Flights of Fancy (or Reverse Strip Jump)
The Great Death Game
Hangman’s Cricket
The Hare and Hounds
Sheep and Tides
In Drowning by Numbers, number-counting, the rules of games and the repetitions of the plot are all devices which emphasise structure and symmetry. Through the course of the film each of the numbers 1 to 100 appear, the large majority in sequence, often seen in the background, sometimes spoken by the characters.