O Pranto do Mal

Producing something that comes from fragments of other cinematic creations is not always so easy. Often ideas, strategies and even narrative clichés borrowed from other films may be present, but the result may be poor and forgettable. So knowing how to bring together and assemble fragments of the genre's history is important to avoid the obvious and yet another film that will go unnoticed both in theaters and on streaming services.

Spanish director Pedro Martín-Calero seems to have been inspired by some films of the genre to direct The Cry of Evil (El Llanto, 2024). Examples: By bringing something that insistently pursues the characters, we can remember the tension that was the excellent It Follows (2014). Andrea and Camila's constant filming during the narrative refers to the Found Footage culture (we know very well what it is like to be apprehensive that something will appear on the screen before our eyes).

The film tells the story of three women: Andrea (Ester Expósito), Camila (Malena Villa) and Marie (Mathilde Olivier). Divided into three acts, the film explores the lives of these characters when they are faced with an evil entity that is chasing them.

Let's say that Pedro works with several themes in his production, but he doesn't use them as a driving force for the narrative to move forward. Seclusion, machismo, isolation, and the separation of families are all mixed together in many scenes that, more than just scare us, serve to warn us about some evils that also scare us in society.

The modestly produced film has a touch of amateurism, perhaps even on purpose. But it manages to contribute to intensifying the retro, dark and desolate atmosphere of the story, as in Camila's passage that takes place in 1978.

One of the secrets here was to include resources that create tension in the viewer, such as the entrance to a dark and abandoned building that echoes people's cries or even Camilla's camera that insists on being out of focus in some shots. The director opts for external and internal settings that generally cause discomfort, often due to the lack of lighting, or sometimes due to the feeling of claustrophobia that it conveys.

Although the act involving Andrea is the most impactful, Pedro weaves the three acts together well, creating a correct and believable sequence for a stunning ending that culminates in a film that has an open ending, perhaps setting the stage for a sequel.

Not what I expect. Boring,slowpaced and unscary at all. The only time something happen is at the last 10 minutes and last like 3 minutes. Really?

It should be shorter than I would waste least time with that trash. And they even left the ending with possibility for another one. I don't even know what they try to accomplish with this movie. Come on. Horror? Like that it isn't. If possible don't waste your time. It really has one conection between the three of them.

Uncompeling characters,like the second one thinking it's making good movies. Just like writters,directors and actors in this movie possibly believed was making something good,but not. Bad movie thats what this is.

El Llanto, a Spanish-Argentine film directed by Pedro Martín-Calero, is a work that manages to fascinate and frustrate at the same time. With an extremely intriguing premise and a sophisticated visual proposal, the film delivers a permanently oppressive, suffocating and disturbing atmosphere, where the discomfort grows with each scene. It is a psychological horror film that relies much more on latent tension than on conventional scares.

The construction of the setting is impeccable: dark scenes, intelligent use of cameras, screens, reflections and, above all, a sound design that masterfully incorporates the most striking element of the film - the constant, distressing and almost hypnotic crying that invades every space and every silence.

However, despite all this aesthetic and sensory strength, the development of the script proves to be far below what is necessary. The story simply does not explain itself. The connections between the characters and the events are poorly tied up, leaving holes, loose ends and a constant feeling that something is missing. The film builds up a huge expectation, but fails to deliver answers that are up to par, which directly compromises the viewer's emotional and rational connection.

The performances are competent, the tense atmosphere keeps the audience alert until the end, but the fragility of the narrative development undermines part of the experience. In the end, *El Llanto* is a film that haunts more for its atmosphere and the anguish it provokes than for the story it tells. And perhaps that is precisely where its greatest virtue and its greatest flaw lie.

A work that starts from an excellent premise, with an alarming atmosphere, suffocating tension and impeccable aesthetics, but which seriously fails due to the lack of narrative development, the absence of minimal explanations and for failing to transform its great idea into a truly complete experience. Even so, it captivates - and very much so - due to the constant uneasiness it provokes.

⭐ Rating: 6.5/10. How is that no possible: 7.0.

It could easily be 8/10 with a better-crafted script and a minimally satisfactory conclusion.

Director Pedro Martín-Calero debuts with the psychological thriller and haunting horror El Llanto, The Wailing for international audiences, perhaps solidifying his entry into the horror industry. The film, though winning a Best Director Award for Pedro, is strong on the horror aspect but convoluted.

The story follows three timelines closely linked by a haunting cry of despair. Unbeknowst to them, their stories are connect through a horrible presence tied to an eerie building.

Slow-driven, The Wailing is strong on its direction drive and cinematography. Creepy and scary at times, for real, and super solid in terms of depicting different timelines at different time eras.

The not-so-good points have to do with the storyline itself. It felt open and holes seem to creep into the plot points, some actions and events too broad for our understanding, culminating into a main protagonist that is completely absent of a concrete backstory.

The Wailing might be refreshing in some aspects, but leaves us a bit too much in the dark with what is going on and has happened in past events, much of this due to a lack of clear exposition into the main antagonists past and intents. Solid in keeping us on the edge, but lacking in cohesion.

The Wailing is a film that manages to unsettle without relying on grand theatrics. Its dense atmosphere and the way it blends supernatural horror with a deeply human story make it stand out in the landscape of Spanish cinema. It reminded me, in part, of The Entity, but here the focus shifts: instead of a mother, the protagonists are young women facing their own fears and traumas.

What captivated me the most is Martín-Calero's direction. Every shot is designed to create discomfort and tension, but without going overboard. The use of light, sounds, and silences plays a crucial role in maintaining that constant sense of unease. The lead actresses also shine, displaying a vulnerability that feels very real. They aren't flat or stereotypical characters; there's something in their eyes and gestures that makes you empathize with them.

Despite its strengths, the film isn't without its ups and downs. At times, the narrative seems to lose its way, as if trying to tackle more than it can handle, leaving certain aspects underdeveloped. This can create the feeling that some pieces don't quite fit, weakening the main storyline.

Even so, The Wailing leaves an impact. It's not just a simple supernatural horror tale; it's a film that speaks about pain and violence in a way that lingers. Beyond the scares, what truly stays with you is the discomfort of its underlying message, inviting reflection long after the credits have rolled.