Párvulos: Children of the Apocalypse (2024)

It takes real talent for a filmmaker to successfully combine elements from several different genres in one picture and make the finished product work, but that’s precisely what Mexican writer-director Issac Ezban has done in his latest offering. This post-Apocalyptic sci-fi saga fuses elements of classic horror, smart horror, high camp and zombie tales into an entertaining guilty pleasure that features moments of frightfulness and comedy, as well as heartwarming nods to tender family togetherness (albeit not in the most typical sense). In a world where things have fallen apart due to the effects of an inadequately tested vaccine used in treating the virus behind a global pandemic (a timely touch), those who have managed to stay unaffected have taken refuge in remote hideaways, trying to stave off the diseased monsters that now roam the landscape. Such is the case with three brothers (Mateo Ortega Casillas, Leonardo Cervantes, Farid Escalante Correa) who have holed up in a remote forest house that they found in their wanderings. But, despite their ardent efforts to survive, there are still monsters all about, including in the basement of their new home. “Párvulos” is thus their challenge-ridden tale to stay alive, one filled with terror, as well as unexpected laughs (including a music video parody montage) and a host of strangers who cross their paths, making everyday life perpetually interesting. The story is effectively brought to life with fine performances by the three young actors and inventive cinematography featuring an intriguing palette of black-and-white images tinged with bleak red and green accents, a suitable color scheme befitting the nature of the film and its setting. The use of red, of course, is integral to the ample blood and guts on display here, so sensitive viewers may want to take heed, although such gratuitousness is wholly appropriate for the tenor of the narrative, often enhancing the campy aspects of this story. Perhaps my only issue with this release is that its script sometimes meanders somewhat more than I’d like, with certain plot developments seemingly emerging out of left field – not that they’re ill-conceived, but their appearance feels a little more happenstance than expected. Still in all, this multi-genre offering is a ghoulishly fun romp with a macabre sense of humor, good scares and a few surprisingly heart-tugging moments. And, with a combination of qualities like that, what more could anyone ask for?