It’s an exercise in sadism, but not the good kind.
Photo: Netflix
In the opening scenes of Netflix’s new apocalyptic sequel Bird Box Barcelona, Sebastián (Mario Casas) and his daughter Anna (Alejandra Howard) navigate a decimated city and stumble upon a group hiding in a bus shelter. Survivors live in enclosed compounds to avoid an unseen force that drives people to suicide. Sebastián’s actions trigger a shocking event.
The sequel focuses on the deranged individuals who encourage people to open their eyes and embrace death, rather than those hiding from the unknown menace. Despite giving away this premise early on, the film maintains suspense by exploring Sebastián’s past and the grief that has driven him mad.
The initial concept of a genre film centered around a villain is promising in a landscape dominated by conventional horror. However, Bird Box Barcelona fails to fully explore Sebastián’s grief and relies on it as a narrative device. While there is potential in examining the psychological toll of loss, the film falls short in its execution.
Throughout the movie, flashbacks reveal the events that led Sebastián to his current state. The characters he encounters in the present are also grappling with profound loss. The world of Bird Box is one filled with heartbreak and trauma experienced by every individual.
The film could have been cinematically compelling by delving into the psychological aspects of grief. Unfortunately, Bird Box Barcelona fails to go beyond its initial ideas. Sebastián’s murderous actions lack inventiveness, and the revelations about his past are predictable and disheartening.
Writer-directors Àlex and David Pastor introduce an intriguingly evil concept but don’t fully commit to its execution. They approach the film with seriousness and hesitate to embrace the entertainment value of Sebastián’s kills. The lack of boldness raises questions about the purpose of the movie.
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