FANTASTIC FEST: ‘Párvulos’ Is A Post-Apocalyptic Emotional Story

Post-apocalyptic settings are a dime a dozen. While the saturation has become real, it’s also allowed for truly unique takes on the end of the world and life after it stands out. From Mexican director Isaac Ezban, Párvulos takes on the end of the world with an emotional look at brothers and how they try to survive.

The end of the world in Párvulos comes in the form of the Omega Pandemic, which has decimated the world and left a group of three boys mostly alone. The eldest brother, Salvador, has assumed the caretaker role for his younger siblings, Oliver and Benjamin. He stays in shape, he cooks for them, and he makes the hard decisions to keep them moving forward. The little ones, Oliver and Benjamin, are still trying to maintain their childhood. Still, the world won’t allow them, with Salvador attempting to help them by equipping them with various survivalist skills.

Salvador keeps the family afloat by harvesting resources from the nearby forest, hunting, and ultimately making sure that their table is full every day and working to give them all a routine that can keep them sane. Despite the sepia filter and the very clear end-of-the-world vibes (including a monster in the basement), the boys are trying to live as normal as possible. But Salvador can only do so much, especially since he’s really just a kid himself.

When their solitude is shattered by a woman attempting to break into their remote compound on Christmas Eve, they eventually let Valeria join their celebration. Completely unaware of how to interact with a young woman, the boys are enamored with Valeria and how she approaches the world. Then, she goes looking where she shouldn’t.

Párvulos is a dark fairytale that uses horror to tell a coming-of-age story that captures how innocence continues despite the circumstances. While the ultimate commentary on family and the sacrifices that people make is strong, the truth is that watching the brothers love each other, fight, and support each other in their grief and fear is extremely beautiful. But that emotional core between Salvador, Oliver, and Benjamin makes this film sing.

Getting to the film’s emotional core is an arduous journey. From the jump, the film punches the viewer in the face with the hardships of the boys’ world. With dog death and consistent violence, Párvulos is a hard watch, and there are no mincing words about it. While the violence doesn’t always feel necessary, the worst of it equates to the amount of sacrifice the boys have to make.

I oscillate between accepting the violence and being frustrated by how wanton it feels at times. However, when you make it through the film, you understand how slowly it moves with the narrative, taking time to understand the relationships as much as the dread.

With the vast majority of the violence sequestered in the front of the film, Párvulos moves at a glacial pace. It’s not bad for those who have become invested in the brothers’ grief and the overall world, but for those who locked in within the first ten minutes for something more brutal, it does leave you wanting.

As a whole, Párvulos is a powerful film. It slowly moves to paint a family portrait that forces the audience to take a stake in their own relationships. Dark and filled with the dread that only loss can instill in an audience and characters, Párvulos is well worth a watch. A sweetness undercuts the film, reminding you constantly that these are children you’re watching, and that makes the danger all the more thrilling. 

Párvulos screened as a part of Fantastic Fest 2024.