Genre

Psychological Thriller / Horror. Director: Haritz Zubillaga (feature debut)

Starring

Paola Bontempi (as Amanda)​. The film is a claustrophobic one-room thriller set entirely in a limousine, with Amanda – an award-bound actress – trapped by an unseen tormentor. As Screen Rant–style reviewers note, it’s a “tight, surreal ride” that feels like The Texas Chainsaw Massacre meets Black Mirror inside a glass box

Production Background and Context

The Glass Coffin is Haritz Zubillaga’s first feature (after award-winning shorts like Las horas muertas). Produced by Basque Films with partners Life&Pictures and others, it premiered at Sitges 2016 (Official Selection). Zubillaga – a protégé of Nacho Vigalondo – co-wrote the script with Aitor Enériz (who wrote the short She’s Lost Control)​. Variety even named Zubillaga a “sure promise” of Spanish genre cinema. The modest budget (~€400k​) went into building a realistic limo interior on a soundstage. After a global festival run, the film had a limited Spanish theatrical release in May 2018 (Biscay, Madrid, Barcelona)​ and later sold to markets like the US, Canada, Japan and Australia​. (In Japan it was released on Blu-ray/DVD as Limousine​

Plot & Character Analysis

Amanda (Paola Bontempi) is a celebrated actress on her way to receive a lifetime-achievement award. Dressed in evening gown, she climbs into the chauffeur-driven limo – but the moment she settles in, the windows instantly tint black, the doors lock, and her cellphone is jammed​. A distorted, unseen voice informs her she is now the captive “star” of a terrifying game. The captor forces Amanda to perform humiliating and demeaning tasks, one by one, under threat of “unpleasant consequences”.

As the night wears on, Amanda swings from disbelief and fury to wary compliance. Initially cynical and indignant, she soon realizes escape is impossible, and her survival depends on following the stranger’s twisted commands. The captor treats her like a movie character: Bontempi’s Amanda is psychologically analyzed by a self-styled director-figure who justifies each torture, even playing childhood footage of Amanda’s early roles on limo monitors​. The film constantly sets “puzzles” for Amanda to solve (for instance, figuring out why each order is being given)​. One reviewer notes there’s “always a puzzle for Amanda to solve and the audience are never left bored”​.

Without spoiling the climax, the story eventually reveals a dark motive behind the abduction, giving the thriller a surprisingly metaphysical edge. In its final act the tone shifts from high-tech horror to an almost gothic-fairytale vibe – even a haunting apparition in the woods – as Amanda comes face-to-face with her antagonist​. Cinemaldito observes that the film’s revenge-plot acquires “almost fantastic” layers (citing Poe and Borges) and a surreal, nightmarish quality​. The narrative explores themes of fate and double lives: as one critic puts it, Amanda’s “paths in life bifurcate capriciously,” evoking the duality of choices and identities​. Overall, the claustrophobic premise (one woman, one vehicle) is used to probe Amanda’s psychology – her fears, pride as an actress, and hidden regrets – under extreme duress.

Performances

Though the user mentioned Paula Echevarría, she does not appear in this film. The sole lead is Paola Bontempi, who carries the entire movie as Amanda​. Bontempi turns in a committed, intense performance: she conveys Amanda’s terror, anger and desperation almost entirely by herself. Spanish critics praised her effort. Cinemaldito specifically notes “la esforzada interpretación de Paola Bontempi (en un rol nada sencillo)” – “Bontempi’s strenuous performance in a very challenging role”​ – as a highlight. In fact, Bontempi won Best Actress at Greece’s Horrorant Film Festival for this role​, underscoring how her acting anchors the film. The chemistry (such as it is) between Amanda and the off-screen captor hinges on Bontempi’s reactions to a disembodied voice, and she never lets the tension flag. Fans of one-location dramas will appreciate how she conveys a full emotional journey from confusion to rage to grief, all under the limo’s artificial lights.

Cinematography, Sound Design & Style

Despite its single set, The Glass Coffin is visually bold. Director Zubillaga and cinematographer Jon D. Domínguez transform the limo’s interior into a neon nightmare. One blogger notes the “incredibly beautiful space, rich with neon lighting, stunning lens flares and sudden-changing bold colour palettes” that keep the visuals striking​. Cinemaldito compares Domínguez’s lighting to classic Argento films – vibrant reds and greens – and even describes the finale’s “almost fairytale tone” with an eerie forest apparition​. Close-ups dominate, filling the frame with Amanda’s face, makeup, or flickering instrument panels, emphasizing her isolation.

Sound design is equally detailed: ordinary noises become ominous. Daily sounds like fabric rubbing or metal clicking are amplified into unsettling audio cues – for example, the click of a seatbelt or the scuffle of heels echo in the confined space. As one review observes, the director “obsessively” crafts sensory detail, turning mundane sounds (“flesh touching metal”, cloth rustling) into nightmarish stimuli​. The villain’s voice is electronically distorted and delivered through hidden speakers or headphones, a mechanized growl that ratchets up dread. In sum, the film’s style is high-concept and sensory – it plays like a studio-bound delirium, mixing horror, sci-fi and even gothic fantasy in equal measure​

Ratings & Reviews

The Glass Coffin has received mixed to positive reception among critics and audiences:

• IMDb: 5.3/10 (based on user ratings).
• Rotten Tomatoes: 80% Tomatometer (4 Fresh/1 Rotten critic reviews). (Average critic score ~7/10.)
• TMDB: No official user score available (content data mostly complete​).
• FilmAffinity/SensaCine (Spain): Roughly 2.5–3/5. For example, SensaCine (Spanish cinema site) shows a 2.5/5 from its sole media critic and ~2.9/5 from users​, indicating local reviewers were lukewarm.

Critics’ comments illustrate the split: John Tones (Espinof) calls it “undoubtedly an irregular proposal, but also admirable,” praising Zubillaga’s precision​. Jennie Kermode (Eye for Film) and Kat Hughes (TheHollywoodNews) highlight its bold creativity on a low budget​. By contrast, Javier Ocaña (El País) notes that the film “fails to scratch the surface” of its themes despite technical skill​. Reviews repeatedly mention that the strong concept and lead performance are offset by some pacing and script weaknesses. In short, genre fans may find it a tense, imaginative thriller, while others see it as uneven yet intriguing.

Box Office & Streaming Availability

After its festival run, The Glass Coffin saw only a limited theatrical release (select Spanish cities in May 2018​), so box office figures were minimal. Its primary life has been on home video and streaming. It was released on DVD/Blu-ray in Japan under the title Limousine. Streaming: As of 2025 it’s readily available on major platforms. For example, the Apple TV listing notes availability on Amazon Prime Video, as well as free services Tubi and Plex​. JustWatch confirms it can be streamed on Prime in many regions. (No subscription in those regions? It can often be rented on VOD or found on niche horror channels like Screambox.)

Conclusion & Verdict

The Glass Coffin is an immersive one-location thriller that will appeal to fans of high-concept horror. Its strengths lie in the vivid cinematography and sound design – the limo interior almost feels like a living, nightmarish space – and the gravitas of its lead performance. Bontempi’s Amanda carries the audience through fear and defiance, and the director’s flair for visual style (neon flares, surreal imagery) keeps the film from feeling static. On the downside, the script is sometimes uneven: the tension dips with repetitive commands, and some viewers may find the dialogue or character motivations thin. Nevertheless, the twisty plotting and visceral atmosphere make for a memorable ride.

Overall, The Glass Coffin is not a perfect film, but it’s a bravo for ambition on a shoestring and for turning a limo into a chamber of horror. For fans of psychological thrillers and Spanish genre cinema, it offers a claustrophobic thrill with a touch of the fantastic.

Rating: ★★★★☆ (7/10)