The best element of this thriller is not actually its investigation, but the well-balanced case procedural and family drama that our detective faces, with the scenes and paternal conflicts with children and wife at home being quite the highlight of the movie. Another praiseworthy element must be part of its imagery, in particular, the hypnotic use of car flares during driving sequences.
On the contrary, the forced use of comedy and the unsatisfactory conclusion of the mystery are the key downsides of this film.

Unapologetically more atmospheric than plot-driven, this look into the lives of gipsy families in the biggest self- made and managed city in Europe, on the outskirts of Madrid, breaks boundaries with its unconventional mix of photography using natural lighting but also phone, together with heavy filtering (present in multiple sequences with various colour tints).
But precisely, it is this lack of narrative depth that affects the movie most deeply. Subject matters such as the intergenerational and ideological clashes between son and father, father and grandfather, or the grandfather’s conflict with drugs and the gang that deals them are underdeveloped, while other topics like the clash of this community against urban life are practically ignored.

This intimate story about two young girls becoming friends in the asylum centre where they live with their families thrives in the originality of its setting and the delicate vibe surrounding the story. Nonetheless, the overall pace and structure of the film is uneven, as it delivers a rushed first act lacking conflict and drama, a too narrowly focused second act, and reaches an obvious and conventional finalisation.
On top of that, neither performance from anyone in the cast, including those of our mains, is remarkable, which obviously diminishes the otherwise interesting premise.

Two-thirds of the film are splendid. It opens with a deliberately, magnificently uncomfortable first act that heightens the stark contrasts between the characters and the bizarre origins of social media star Magaloche (fantastically portrayed by Adèle Exarchopoulos), followed by a second act brimming with hilariously chaotic energy. This film will make you cringe, in the best way possible, and laugh in equal measure. Unfortunately, when the narrative shifts towards dark comedy, in the vein of the Coen brothers, it loses its punch, resulting in a weak final act.
There are also two other elements that feel slightly underdeveloped. One is the actual analysis of internet stardom and its effects, both on audiences and on the influencers themselves. The other is the depth of the supporting characters (Magaloche’s assistant and the journalist pursuing an exclusive interview), who are noticeably less fleshed out than the protagonist, despite playing essential roles in the plot.

The key to this film’s success as a great and entertaining piece lies in two elements of its script. The first is its perfect balance between social commentary on the reality of the Palestinian struggle and resistance, and the more fiction-driven narrative in which our three main characters find themselves embroiled. Equally important is its engaging and well-structured storytelling. While non-linear narratives are no longer a novelty, the way this film pieces together its timeline is intelligent, playful, and deeply meaningful, enhancing how we interpret the story once it concludes.

This is further elevated by the excellent performances of the three lead actors, each of whom brings distinct personality traits and emotional depth, reminding us that people are rarely as they appear on the surface. Another standout element, beyond the acting, is the skilful use of score and soundtrack, which draws us even deeper into each scene whenever music is employed.

The only aspect that prevents this film from being practically perfect is the slightly rushed storytelling. While the action and more dynamic scenes are well executed, it’s in the quieter moments that the true emotional weight of the characters’ relationships is revealed. Unfortunately, these scenes are fewer than they should be, suggesting a lack of patience in exploring them more fully, something that would have greatly enhanced the film’s dramatic and tense moments.