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The same story as always

The bad moment of the Spanish terror is confirmed with The communion girla nonsensical eighties that tries to emulate Paco Plaza and fails to scare or interest.

It is not difficult for us to recognize that Spanish cinema is alive low hours. The neon-noir thriller that stood out so much in the decade of the 2010s has been relegated to a blurry pastiche with top-notch actors reprising the same roles over and over again. The comedy tries to repeat the success of Eight Basque surnames with bland love stories with tinges of stale humor. And the terror… terror raises no head.

The only standard bearer of Spanish horror that breaks the scene when thrown in full force is Paco Plaza. One of those try to break this trend ca Víctor García, director from Barcelona who has lavished himself, mainly on Hollywood. After several feature films in North American lands, García returns to Spain for tell the same story as always with The communion girl.

Late 80s. Spain is the country of recreational, machine music and designer drugs. Parents’ overprotection frustrates children eager to devour life. The ecosystem is complex, either because of the position left by Francoism or the fear of modernism that Spain will experience at the end of the century. In the midst of this panorama, an urban legend terrifies an undetermined locality.

The communion girlnotice, fails to terrify. It’s more, it is unnecessary. It’s meant to be a kind of Annabelle in Spanish lands, however it lacks interest, wit and freshness. The characters and settings are archetypal, constantly evoking other films. It never manages to feel like it’s bringing something new to the genre, either in form or content. Its premise is so trite that sell at the first change the ability to innovate.

We already saw the Spain of the late 80s perfectly portrayed a Veronica by Paco Plaça. Back to the same era with such a similar tape attack on the product itself. It’s hard to understand why they didn’t want to span another decade with that in mind little that has been explored in our country’s past. It even fails when it comes to portraying this era, since, aside from the few details, it fails to immerse us in years that are beginning to seem very distant.

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The communion girl it also has some virtue. The rhythm is correct and not soporific. As an entertainment product it does not fail, but in the cinema it is necessary to demand a minimum that is not a mere pastime. The fair length of the tape helps that it is not a waste of time, and some of the performances are correct (most of them leave a lot to be desired). It is not a film that will go down in history (if we consider the story to be the day after seeing it).

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