Of similar confection as the first film, this one opts to show more rumbles in the actual ring rather than outside, which makes the fights less potent, the battles between the heroes and villains are significantly reduced, making the whole thing a bit lacking. The rhythm it's less fluid, stopping at several points to admire the static spectacle, from wrestling to filler songs.
Curiel directs with the same unpreoccupied spirit, now much more observing and wanderer than before, with even less interest in telling than in showing events, although always taking advantage of its free form to travel without restriction across the scenarios, capturing the events and subjects with a detached but contemplative view.
Consisting of scenes of dilated duration that would only take two or three fragments in any other movie, the film delights itself without measure in the ambients and actions that conform it's elongated sequences, slowing the narrative development to an unusual degree, to the point where the main villain doesn't reveal her plans until the last ten minutes of the film. Once arriving at the similarly careless third act, the film takes its ending for granted and resolves its climax by skipping over the self-evident aspects of the story formula and going directly to the resolution.
Curiel typically offers a kind of erratic alternative to commercial cinema, often squeezing and extending the events of its barebones plot in joyfully artificial ways, delivering a story as abstract as its construction. Unfeasible regurgitation of superhero and wrestling hero comic book tropes. Potent yet loose and ludic addition to wrestling cinema.
Curiel directs with the same unpreoccupied spirit, now much more observing and wanderer than before, with even less interest in telling than in showing events, although always taking advantage of its free form to travel without restriction across the scenarios, capturing the events and subjects with a detached but contemplative view.
Consisting of scenes of dilated duration that would only take two or three fragments in any other movie, the film delights itself without measure in the ambients and actions that conform it's elongated sequences, slowing the narrative development to an unusual degree, to the point where the main villain doesn't reveal her plans until the last ten minutes of the film. Once arriving at the similarly careless third act, the film takes its ending for granted and resolves its climax by skipping over the self-evident aspects of the story formula and going directly to the resolution.
Curiel typically offers a kind of erratic alternative to commercial cinema, often squeezing and extending the events of its barebones plot in joyfully artificial ways, delivering a story as abstract as its construction. Unfeasible regurgitation of superhero and wrestling hero comic book tropes. Potent yet loose and ludic addition to wrestling cinema.
