Adrián García Bogliano’s SCHERZO DIABOLICO can best be described as a near-perfect engine of human cruelty. Any other attempt to qualify it within the terms of established genre traditions are futile. Is it an abduction procedural? A psychological character study of a criminal à la John McNaughton’s HENRY: PORTRAIT OF A SERIAL KILLER (1986)? A female revenge thriller? SCHERZO DIABOLICO is all three and