CANNIBAL

Carlos is a soft-spoken tailor that hides a secret double life as a serial killer. He stalks his prey carefully and carts them off to a remote mountain cabin where he slices them up and takes a bit of their meat home with him to devour later at his convenience. Carlos otherwise lives his life uneventfully until his path crosses with the beautiful Alexandra, who tries to spark a relationship with him. Shortly thereafter, Alexandra goes to his apartment after an apparent altercation with her boyfriend. She wants to report it to the police. He eventually offers to take her to the police station. She goes missing and Carlos is contacted by Alexandra's twin sister Nina, who believes that Alexandra ran off after stealing money from their parents. Carlos offers to help Nina to a degree that makes her suspicious, but she stays with him because Alexandra's brutish boyfriend is causing trouble. As the film progresses, Carlos finds himself becoming drawn to Nina and eventually he offers to take her to his remote cabin. He decides that he will drug and murder her, but finds himself incapable of performing the task. Carlos tries to confess that he's murdered not only Nina's sister, but also multiple other women and was going to murder Nina as well, but she refuses to believe him. However, as they drive down the mountainside together, Nina deliberately causes the car to go off a steep hill. An injured Carlos finds the ejected Nina's body. He returns to his sparkless life.

Carlos cannot bring himself to kill Nina and attempts to confess his crimes. Nina refuses to believe him, but later deliberately causes a car accident in the mountains. Carlos survives and finds Nina’s body, returning to his uneventful life.

The ending confronts Carlos with the limits of his monstrous appetites when confronted by genuine emotional connection. Nina’s refusal of his confession and her own fatal act underscore the destructive consequences of secrecy and denial. The final return to routine for Carlos leaves his inner struggle unresolved, casting a cold light on the emptiness at the film’s core.