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.