Malasaña 32

two

• Genre: Terror

Comparisons are always hateful, but sometimes inevitable. And, watching the second film by Albert Pintó (after the curious and iconoclastic Killing God ), it is impossible not to compare it with Verónica , from Paco Plaza, among other things because of its proximity, just a year and a half, between the premiere of both , inspired by real events, set in a period Madrid (the 70's, the 90's) and starring a teenager who faces irrational situations. But where the Plaza film bet on its outcome to leave the doubt if what he said was real or simply the result of the imagination of the main character, Pintó decidedly decided on the pure and hard fantastic , with what the achievements of the first Half of the footage, which is a few, ends up being diluted among fireworks.

the achievements of the first half of the footage, which are a few, end up being diluted among fireworks

After an enigmatic prologue, the film focuses on a family that moves from the countryside to Madrid to settle in the property of the title, where a series of phenomena as disturbing as perfectly acceptable can begin to occur. In the first part, the shocks are caused, above all, by the sound effects, be they noises, stridences or puns of the soundtrack, but, curiously, what is most scary are the silences and the moments of solitude of the protagonist. Then, it has already been said, the thing goes from mother and claustrophobic intimacy gives way to a supernatural coven more effective than effective, supported by a few script traps that, perhaps, thank the very unconditional of the genre.

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