Bird Box Barcelona: Netflix Movie Review te

Ever since Bird Box was released in 2018, the general consensus was that it would be a Bird Box sequel or spinoff Suzanne Bier it was a matter of time. with Sandra Bullock, the terror of a woman trapped in a world where supernatural beings claim the lives of those who watch them, soon became one of the biggest hits in streaming history. However, the derivation goes in the other direction: not a sequel, but an extension of this world. Aviary Barcelona comes to bring new nuances and perspectives, depicting the same universe but in a different country and at a different point in history.

At the heart of the narrative is the same familiar dilemma, but with a new perspective. While in the original work Bullock is a mother who must protect her family, in the derivative this is the case Alex and David Pastorthe star of contratempo, Mario Casasplays Sebástian, a father who must protect his daughter in a world where courtesy has run out and survival is the only motto shared by all the groups he and Anna (Alejandra Howard) happen. The association with “The Last of Us” is unavoidable, but the Pastor’s film is right, limiting itself to inspiration from the family dynamics in the apocalypse and allowing its characters to walk on their own two feet and have their own personalities if also not very complex.

The main difference is that “The Last of Us” constantly challenges the audience’s gaze by presenting them with very human ethical and moral dilemmas, but “Bird Box Barcelona” is more interested in the religious dilemmas of its mythology, which are featured in the feature introduced in 2018 are treated here as a central theme. Sebástian gains some individuality by alternating good and bad attitudes and becomes the starting point for discussions about faith and salvation, which is very typical of Christian works. What is commendable here is not so much the location in which these discussions are held, but rather the way in which the pastor constructs powerful images from the dialectics of sacrifice and redemption throughout the twohour experience. Faith becomes a powerful motto for the characters, while death is no longer the end but becomes a ritual, something well explored in the composition, in which characters die in a violent but resigned manner.

Amidst all this, the dynamic between the main duo and the groups they encounter along the way offers little more than dialogues highlighting the danger and hopelessness of this universe. There are even moral and ethical dilemmas, but they are presented succinctly without leaving much of a mark on the protagonists’ careers. What really stands out in the end are the religious symbolisms and how they affect the characters’ psyches as the plot progresses.

If religious evocations are an interesting point about Bird Box Barcelona, ​​the setting doesn’t justify the title. The Catalan city’s name in the feature’s title suggests that Barcelona will be a true character in the narrative, although in reality it only works through cathedrals and religious symbolism, and these are treated in a generic way. We could replace Barcelona with any other city without major losses. But it seems that in this case the Netflix is testing the ground to expand the franchise worldwide, as happened with La Casa de Papel. And if the plan is to franchise the work while appealing to the personalities of different corners of the world, Netflix needs more than just movies that look like McDonald’s World Cup sandwiches.