‘Bird Box in Barcelona’ review: Much more than ‘The Blind Man’ spin-off

IN Bird box Barcelona, the signs of the apocalypse are everywhere. Bodies hang over bridges or lie in the streets. A wrecked ship in the bay, with one silhouette describing the horrors experienced by all who boarded. A grim feeling that every place is permeated with some kind of phenomenon, which, like in the original film, is deadly. Particularly when an alien threat, still unexplained and increasingly violent, attacks at an unseen rate of infection.

However, in this spin off from one of Netflix’s most successful feature films directed by Alex and David Pastor, the setting becomes darker and closer to horror films than science fiction. Now the enemies are not just mysterious aliens, forcing the characters to commit grotesque and bloody suicides. This time around, the deserted streets of devastated Barcelona are welcoming bands of fanatics who turn the agony into something more heinous.

The script, also written by the directors, makes smart decisions, creating a story completely different from the one it was taken from. This, despite the fact that a significant part of the plot is related to how the film Blindly 2018, plunged into a terrifying. Once again, an unknown element causes a sudden outburst of violence, causing the victims to self-harm. Again, the feeling is that they are unstoppable because they are undetectable. But while in the original film the conflict was centered on the escape of the survivors, this time the story offers more clues about the horrific event. Which leads to his most original and powerful moment.

Fear, defeat the enemy again

Now violent circumstances have an explanation. At least the interpretation of a group of fans led by Father Esteban (Leonardo Sbaraglia). For everyone, what happened is not an attack by extraterrestrial forces, but a divine sign that needs to be interpreted and articulated in the best possible way.

Which pushes the group to ensure that as many people as possible are attacked and killed. The shade of mass delirium adds depth to the analysis of the nature of the catastrophe. At the same time, he diverts the argument into the uncomfortable realm of a debate about beliefs as a tool of worldview.

All this time the world is falling apart. Bird box Barcelona Don’t make the mistake of assuming your audience knows the basic elements of your story. So it starts from the very beginning of the tragedy, which gives the film a revisionist tone. Looking at a well-known event from a different perspective not only complicates it. At the same time, it allows you to add information without giving the impression of a forced or convenient addition to the narrative.

So the story explores the first bloody contact with the threat. Sebastian (Mario Casas) witnesses in horror as the city around him collapses in a wave of violent behavior he cannot explain. Just like the previous film, this one shows the idea of ​​disaster through an unsuspecting character who must cross the street in chaos. It’s just that directors are more adept at detailing the immediate effects of an attack on a population.

Hidden horrors in a dangerous city

One of the most painful and shocking scenes is the mass suicide in the city subway. Filmed from two different points, the episode allows not only to imagine the seriousness of the event at the gate. In addition, motives and fears Sebastian. This father, in the midst of increasingly creepy chaos, is trying to find his daughter. Anna (Alejandra Howard) and save her life. It is without knowing what is going on or what he has to face. Gradually, the concept of the horror of the situation expands and embraces everything. From perception Sebastian from one’s duty and beyond – to secure oneself and thus avoid suffering Anna— to the horror of disbelief.

The action is postponed a few months after the first event. Which shows how Barcelona is degrading in an almost entropic process. Of great interest is how the directors’ chamber uses the gothic character of urban architecture in favor of horror. Much more when walking down long alleys and narrow corners, in the midst of the perpetual tension of a surprise attack. As in the previous film, the trigger for violence is invisible, scary and constantly lurking.

faceless enemy

In this new vision of the universe, invented by Suzanne Beer, a mystery remains. Only, unlike the previous one, there is much more speculation as to which creature he is attacking. Demonic or angelic beings, even beings capable of absorbing injury and pain. All versions co-exist as a new group of survivors attempt to escape either ghostly creatures or delusional religious soldiers on the street. It is only in the final scene that there is a clear indication of what is happening, and the viewer must interpret what this might mean.

Overall, the film is a clear look at fear through the notion of an inevitable catastrophic event. All characters are sentenced to death, whether they know it or not. The city is no longer a safe haven, but another enemy to be defeated. Between two things Bird box Barcelona He has enough skill in creating an atmosphere independent of the original tape. Much more to set the stage for anthological parts based on the same chilling story about an invasion of unrecognizable horror. Its highest point.