The three openings of “30 Coins” quickly come into sharper focus as the baby born of a cow matures in the series premiere. In this specific regard “30 Coins” is sort of the crowning work of their theological texts, a dense and ebulliently blasphemous mystery, and it's stuffed with more incident than the entire run of some telenovelas. It often feels like Vatican II was a cover-up to make it seem as though religious order was loosening its restrictions on the world while behind closed doors more nefarious things were transpiring in secret. As in the work of those authors, the universe occasionally opens up and swallows a few mortals, but it’s usually got something to do with the God of the New Testament than inter-dimensional octopi. They peddle a Catholic version of the Cosmic Horrors of William Hope Hodgson and H.P. “30 Coins” is the kind of thing I can imagine de la Iglesia and his longtime co-writer Jorge Guerricaechevarría having dreamt of making from the time of their feature debut, 1993’s “Mutant Action.” Over the years they’ve created a world recognizably and uniquely theirs, ruled by secret societies and beset by biblical chaos their style a crispy plait of Luis Buñuel and Alex Cox. Álex de la Iglesia exalts in playing the Devil. And finally a cow gives birth to a human fetus in a little town deep in the Spanish hinterland. Then the magnificently depraved opening credits depict the crucifixion of Jesus Christ while cackling Romans laugh at his torment and a guilty Judas flees the scene to go hang himself. The first has a man robbing a Swiss bank, getting filled with bullets by security but not dying until he’s in the getaway car when an intense priest in sunglasses removes a charmed necklace from the culprit.
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