Director Isaac Ezban (Evil Eye, The Similars, The Incident) continues exploring themes of family through a fantasy horror lens with his latest, Párvulos. As its title indicates, roughly translating to pre-schoolers or toddlers, the coming-of-age dystopian fable follows three young brothers, practically newborn babes, discovering the perils and pleasures of life after a world-ending pandemic. Ezban reinvigorates a well-worn setup and subgenre with style and poignancy, framing a classic zombie apocalypse story from the naïve, impressionable, and whimsical eyes of children.
Párvulos introduces one-legged teen Salvador (Farid Escalante Correa), downing worms as he sets about a bizarre series of chores while teaching younger brother Oliver (Leonardo Cervantes) and baby brother Benjamin (Mateo Ortega Casillas). The peculiar rituals aren’t the only sign that normalcy long ago ceased in this virus-ravaged world: decayed bodies hang in the yard in front of the boys’ rural country home. The brothers live in isolation, caught between childhood innocence and survival. Salvador dutifully tries to impart responsibility on his younger brothers, but there’s a dark secret in the basement that threatens their fragile way of life when Benjamin’s curiosity overrides safety.
Ezban, who co-wrote the screenplay with Ricardo Aguado-Fentanes, takes time to acclimate viewers to the boys’ world and perspective. There’s a stunning contrast to Párvulos beyond its monochrome visuals with strategic bursts of color. It’s in the way the boys bicker over movies or pet frogs, like typical children, juxtaposed with the callous way they hunt a stray dog; Salvador demands they then learn how to skin it. It’s also in the way that tender-hearted Benjamin ropes his siblings into taming dangerous monsters, reading them fairy tales in between feedings of hunted flesh. Dystopian cinema often reinforces our inherent need for human connection, but framing this dystopia from the perspective of young children who don’t fully understand the world, even before it came crashing down, creates a dark, affecting portrait of resilience and unbreakable family bonds.
The almost whimsical fantasy gives way to dark horror. Ezban doesn’t hold back on it, either. Salvador, Oliver, and Benjamin may be ultimately sweet but naïve kids, but this world isn’t. Párvulos doesn’t shy away from gore or putting the children in peril. Safety is never guaranteed, especially when the brothers frequently play with dead things they shouldn’t, and Ezban ensures this coming-of-age story comes with appropriately harsh life lessons without ever losing its poignancy. As the horror escalates and the plot barrels toward its finale, more familiar zombie apocalypse tropes and story beats distract from the film’s originality and unique explorations of family bonds.
This horror fantasy is at its strongest when focused on the brothers. Correa’s Salvador is a fascinating character forced into raising his brothers yet still hasn’t reached adulthood himself. The burden of responsibility breeds bitterness, tempered by Salvador’s youthful naivete and unwavering love for his brothers. Casillas’ Benja brings the dangerously adorable level of playfulness that constantly puts them all in danger, while Oliver bridges the two with an even-keeled gentleness. It’s their carefully curated character work that gives Párvulos the emotional heft to stick its devastating landing.
This coming-of-age horror fantasy gets bleak, as dystopian tales tend to, with Ezban plunging three young boys into gruesome, harrowing scenarios. But it’s offset with bursts of levity, whimsy, and a sense of impressive style that sets this post-apocalyptic story apart, even when familiar hallmarks creep in.
Párvulos made its world premiere at Fantasia International Film Festival. Release TBA.
The post ‘Párvulos’ Fantasia Review – Coming-of-Age Horror Fantasy Frames Apocalypse from Kids’ Perspective appeared first on Bloody Disgusting!.
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