Alacranes

The scouts

It's a competent crime descent narrative—which is fine, I guess—but there's nothing here that makes me lean forward and say *why* this version of the story matters over the hundred others. The spiral is inevitable; I wanted it to be *weird*.

Bernal demonstrates assured control over the genre's visual and narrative language, situating himself within a clear lineage of contemporary crime cinema; the formal restraint in how tension accumulates is exactly the kind of disciplined work that rewards close viewing.

The real move is how Bernal uses silence and stillness between the violence—there's a moment where the crew just sits with what they've done, and that choice of *inaction* does more to destabilize the power dynamics than any confrontation could, and suddenly the whole film's about complicity instead of just crime.