Similarities?
Not only is the film similar, as has been pointed out in the above comment, to Alistair Reid's THE NIGHT DIGGER, but also to Norman J Warren's later film PREY (1977), a fact pointed out by Jonathan Rigby on the DVD commentary to said film, which also stars- hey- Barry Stokes!! For those of you not familiar with this movie (thought to be Warren's finest) Stokes plays Kator, an alien stranded on earth looking for food for his dying planet, who moves in with Jessica (Glory Annan) and Josephine (Sally Faulkner)a pair of strange lesbians with a secret. In the same way as he does in LA CORRUPCION (apparently- I've never seen it), Stokes turns their peaceful existence upside down, with events culminating in a violent climax.
Although this was very much an exploitation-style horror concieved by producer Terry Marcel, it has since been praised for its Pintersque dialogue and its Losey-style feeling of desolation and alienation- something which Warren is often chuffed to buckets about, but which wasn't his idea when shooting the movie!! Still, great art often happens, as ABC once sang, by default rather than design.
Losey of course examines this theme in SECRET CEREMONY (1968) in which the enforced unreality dwelt in by Mia Farrow and an unstable Elizabeth Taylor is invaded by the lecherous Robert Mitchum: around the same time across the pond, Robert Altman wasa shooting THAT COLD DAY IN THE PARK (1969) in which the itinerant Michael Burns drives a wedge between Sandy Dennis and David Garfield, although his role is small compared to those of the 'partners' in the other aforementioned films.
This particular strand of psychological thriller/horror, in which the influence of an outsider disrupts an equilibrium or an idyll, was explored often in the 60s and 70s (Jerzy Skolimowski's THE SHOUT (1978) and Eugenio Martino's A CANDLE FOR THE DEVIL (1970) are two further examples), and is of course linked to the work of Polanski: not only with regard to CUL DE SAC (1966) but the 'nervous breakdowns had by women in Britain and Ireland filmed by a foreign director' subgenre he helped create with REPULSION (1965). This limeage also includes SECRET CEREMONY, Altman's IMAGES, Jose Larraz's SYMPTOMS, Harry Bromley Davenport's never-seen WHISPERS OF FEAR, and the made- for- TV A WOMAN SOBBING: the two subtly linked styles of horror, which both border on arthouse drama fare (cf THE BIRTHDAY PARTY) are much beloved of those who have seen or remember them, but have not been examined or used for nearly 30 years: a little too cerebral for today's generation, one feels. However, it is one I personally find satisfying and rewarding: ultimately (sadly for some) it proves that in horror, like in all genres, there are only a few truly original ideas, but what matters is the way in which one develops them.
And if anyone has a copy of LA CORRUPCION DE CHRIS MILLER, kindly send me an email....
"I'm sorry about the room"
"Oh, that's OK, we have lots of others."