Name: Phenomena
Genre: Comedy, Horror, Thriller
Released: 2023-04-14T00:00:00+00:00
Cast: Belén Rueda, Gracia Olayo, Toni Acosta, Emilio Gutiérrez Caba, Miren Ibarguren

The flickering streetlamp in Madrid’s Plaza de Oriente casts an eerie glow over Phenomena (2023), director Carlos Therón’s latest genre experiment. It’s a fitting opening image for a film that struggles to decide whether it wants to be a comedy, a horror movie, or a thriller—never quite settling into a consistent tone. The lamp’s unstable light mirrors the film’s own narrative flickers, oscillating between genres without ever finding a steady rhythm.

Therón assembles an impressive cast of Spanish actresses, each bringing depth and nuance to their roles. Belén Rueda, best known for her work in The Orphanage, delivers a standout performance as Sagrario, the group’s reluctant leader. Her scene in the abandoned asylum is the film’s emotional and thematic peak, where she confronts both literal and metaphorical ghosts with equal parts wit and vulnerability. The way Rueda’s eyes dart between fear and determination in that dimly lit corridor is a masterclass in subtle acting—a rare moment where the film transcends its genre trappings.

Gracia Olayo as Paz and Toni Acosta as Gloria provide strong support, though their characters sometimes feel underdeveloped. Paz’s subplot involving a romantic entanglement with a skeptical journalist (played by Ivan Massagué) feels tacked on, diverting focus from the central mystery. Gloria, meanwhile, serves as the group’s comic relief, but her one-liners often fall flat, highlighting the film’s tonal inconsistencies.

Emilio Gutiérrez Caba, a veteran of Spanish cinema, brings gravitas to his role as El Pater, the spiritual leader whose encounter with the supernatural sets the plot in motion. His performance is measured and restrained, providing a grounding presence amidst the film’s chaotic energy. The scene where he first encounters the paranormal phenomenon is one of the film’s most effective moments—Caba’s subtle shift from confusion to terror is palpable, drawing the viewer into the mystery.

Therón’s direction is competent but unremarkable. He employs standard horror tropes—a dimly lit corridor here, a jump scare there—but rarely elevates them beyond genre expectations. The film’s pacing is its biggest letdown; the first act meanders through exposition-heavy scenes that test patience, and even the climactic reveal feels rushed, as if Therón couldn’t decide whether to commit to horror, comedy, or thriller.

Where Phenomena truly falters is in its narrative structure. The film struggles to balance its tonal shifts, oscillating between slapstick humor and genuine scares without a clear throughline. A subplot involving Paz’s romantic entanglements feels tacked on, diverting focus from the central mystery. The script, credited to Fernando Navarro and Marta Buchaca, suffers from uneven pacing and a lack of cohesion.

Yet, there are moments of genuine originality. The film’s exploration of middle-aged female friendships is refreshing, offering a departure from the typical horror fare dominated by younger protagonists. The dynamic between Sagrario, Paz, and Gloria feels authentic, grounded in a shared history that transcends their paranormal investigations. Their banter in the car scenes is some of the film’s best writing, highlighting the screenwriters’ strengths when they focus on character dynamics.

Phenomena also benefits from its Spanish setting, which lends an air of authenticity to the proceedings. The film’s use of Madrid as a backdrop—from the historic Plaza de Oriente to the eerie corridors of an abandoned asylum—adds a layer of depth that transcends mere atmosphere. The city becomes more than just a setting; it’s a character in its own right, shaping the narrative and amplifying the film’s themes.

However, the film’s genre-bending ambitions ultimately work against it. Phenomena is neither funny enough to be a comedy nor scary enough to be a horror movie. It lacks the sharp wit of a true comedy and the suspenseful build-up required for effective horror. The thriller elements, while present, are underdeveloped, leaving the film adrift in a sea of tonal inconsistencies.

Comparisons to other films in the genre are inevitable. Phenomena shares some DNA with What We Do in the Shadows, particularly in its exploration of paranormal investigations through a comedic lens. However, where Taika Waititi’s film excels in balancing humor and horror, Therón’s efforts fall short. Similarly, The Others (2001), another Spanish-produced horror film, demonstrates how effective a well-crafted ghost story can be when it commits to its scares.

Phenomena is ultimately a film for genre enthusiasts willing to overlook its flaws. Fans of Spanish cinema will appreciate the strong performances and authentic setting, while those with a penchant for paranormal investigations may find some enjoyment in the central mystery. However, mainstream audiences might struggle to find their footing amidst the film’s tonal shifts and pacing issues.

In conclusion, Phenomena is a flawed but ambitious genre experiment that ultimately fails to deliver on its promises. While it boasts strong performances and moments of genuine originality, its narrative inconsistencies and uneven pacing hold it back from greatness.