Playing with the anthology format and Latin folklore, this horror is a blast of gore, laughter, and emotion. Our Satanic Hispanics review:
are, at their best, thrilling cornucopias of opportunity. Beyond the simple joy of offering fans multiple horror stories at once, they offer filmmakers from varied backgrounds a chance to tell a story as part of a larger, more widely seen package, as well as a chance to tell different kinds of horror stories within a single format. Not every horror anthology embraces this chance at versatility, but when a film does, you can feel the ambition and potential in every frame.
Over the course of the next 90 minutes, The Traveler tells the detectives about a man who believes he can reveal a ghost in his home with the right combination of light and movement , a vampire who has a very unlucky Halloween , a man who dared trifle with ancient Mesoamerican magic , and a search for an unusual artifact with the power to kill demons .
A mysterious man in an interrogation room spinning what might be tall tales or might be true stories is, as any seasoned anthology viewer will know, a wonderful framing device to keep the action moving, butpushes The Traveler’s narrative further than something that’s merely structural. Each of these stories, as relayed by Ramirez’s character, is a piece of a larger puzzle, and as the film goes on you can feel those pieces starting to snap together, forming a bigger, more frightening picture.
And this use of the frame narrative to propel and broaden the scope of the movie is made all the more impressive when you consider how different the stories are. The ghost story weirdness of “Tambien Lo Vi” delivers one of the most genuinely unsettling scares I’ve seen in a movie this year, while “El Vampiro” offers bittersweet laughs, “Nahuales” brings primal folk horror and “The Hammer of Zanzibar” plays like a Robert Rodriguez joint from his early, seat-of-your-pants indie days.
It all culminates in a concluding sequence that’s easily one of the most memorable things you’ll see in a horror film this year, and by the time it’s all over,has emerged as one of the best horror anthologies in recent memory. It’s a film that’s eager to play with the conventions of the format, to tell new stories and to explore the depth and breadth of Latin folklore in a world where these ideas and traditions are increasingly pushed down by homogeneity.
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