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Thanks to El Bar, the director Alex De La Iglesia proves his expertise in the field of cinema fairly gore, it is confined with a certain stubbornness in the type of film that goes around the fantastic festivals, without then finding To a wider audience. His thirteenth film El Bar should therefore know a fate comparable to that of most of his previous feature films, that is to say, the days of video-on-demand services, the video-clubs of the 21st century. For as pure entertainment devoid of ulterior motives, this abracadabrante story El Bar holds pretty much the road. This perfectly sums up his qualities and his weakness, the number of which is nearly equal. However, she remained there for hours, after a man was shot in mysterious circumstances outside the door of this establishment to the popular clientele. With the rest of the guests, Elena will try unsuccessfully to understand the strange reasons for this brutal murder, until their nerves are flushed and a spark is enough to detonate this improvised community, left voluntarily in the blur. El Bar narrative articulates stoically in three movements: The elements of surprise are rather rare in this narrative arrangement, which no doubt considers that the overbidding of the tone is worth a thousand times better than reversals less dependent on a fierce race to the systematic elimination of obstacles to survival. In the cinema of Alex De La Iglesia in general and this film El Bar in particular, there is hardly room for a gradual evolution of the characters, whose character traits are just as caricatural as the interaction between them. The tension in the context takes precedence over everything else, at the risk of reproducing, after film, the same spirals of violence, which plays more a role of triggering the spectacle than of warning against the excess that will lead directly To disaster.