Twin sisters Julia and Sara (both played by the magnificent Belén Rueda) suffer from the same degenerative eye condition that leads them to blindness. When Julia finds Sara hanging in the basement, she suspects that her sister couldn’t have actually committed suicide. One thing leads to the other and Julia is all of a sudden in deep water. She’s stuck between her deteriorating vision and the apparent murderer walking loose like a shadow, a true psycho.
Directed by Guillem Morales, Julia’s Eyes is intense, sublime, and aesthetically very pleasing, but it could have been so much more. It could almost be the perfect homage to the graphic Giallo genre. The climax of course mirrors the classic neck slash scenes of Mario Bava and Dario Argento movies, but the mystery in the film is an ode to Alfred Hitchcock’s Psycho (1960). The air has same tension as Psycho, and no, there’s no multiple personality disorder here.
Midway through the movie, Julia’s Eyes feels like a riveting mystery—brilliant screenplay, pacing, and terrific performances all heading to a transcendental climax. The scene where Julia goes blind is part of one memorable sequence bringing together the music, shot, atmosphere, and Julia’s own expressions in summing up this incredible piece of storytelling. But from thereon, the story dips and treads on the usual path of psychotic thrillers. It loses its mystical element and becomes rather predictable, a bit too theatrical at times.
Initially set as a firm, intelligent mystery, the story turns into a watered down survival journey of a woman who was full of conviction at first, but is later devoid of rationality. Although one could suspect that the tragedies in her life play an equal part in breaking her; still, many of the decisions she makes doesn’t quite fit with the woman who’s shown to be Julia at first. That notwithstanding, Julia’s Eyes is almost a classic if you shut it right at the point Julia loses her eyesight. Howsoever the movie may have turned out, and it’s still fine, Rueda deserves all the praises for her emotive, dejected, and tragic showing as both Julia and Sara.
Julia’s Eyes has a great start, a not so great ending. The eventual twist is hardly exciting and leaves you expecting more, yet the initial hour is some of the finest exhibition in horror/mystery filmmaking. In its visual form though, Los Ojos de Julia is sheer beauty. The second half lets it down.