Get ready for a thrilling revelation! Guillermo del Toro, the master of Gothic horror, has a hidden gem in his repertoire that you might have missed. Cronos, his debut masterpiece, has a sequel that's shrouded in mystery and intrigue.
Del Toro's unique take on monsters and the human condition is a captivating journey. His creatures are not just skin-deep terrors; they're complex, sympathetic entities. Take, for instance, his interpretation of Frankenstein's Creature, a victim who chooses compassion over abuse. This theme of humanizing the monstrous is a thread that runs through his entire career, and it all began with Cronos.
While Cronos might not have the thematic depth of later del Toro classics like Pan's Labyrinth, it's a beautiful exploration of emotions and a love letter to the macabre. Despite its limited release and language barrier, it has earned its place as a genre classic. But here's where it gets controversial: Cronos seems to have a sequel, We Are What We Are, that's flown under the radar.
And this is the part most people miss... We Are What We Are takes the bleakness of Cronos to a whole new level. While Cronos ends on a note of hope, its sequel paints a relentlessly dark picture. It's a raw, unflinching look at a family's descent into dysfunction and the secrets they hide. There are no supernatural elements here; the horror is in the reality of a corrupt city, where wealth and poverty create a terrifying divide.
The film, directed by Jorge Michel Grau, delves into the nature of guilt and shame, asking whether the family's monstrosity is a reaction to their circumstances or an inherent moral decay. Grau's approach is subversive, but the film's grimness can be overwhelming. It's a thought-provoking watch, but it doesn't offer any respite from its cynical tone.
If you're intrigued, you can also check out Jim Mickle's American remake, which he describes as a companion piece rather than a remake. It simplifies Grau's original while maintaining a sharp, grisly tone.
So, what do you think? Is the sequel a worthy addition to del Toro's legacy, or does it fall short? Feel free to share your thoughts and opinions in the comments below!
