“Rosario” from Mucho Mas Media is now playing in theaters. It is filmmaker Felipe Vargas’s directorial debut. This supernatural horror feature explores generational trauma and cultural divides that Latinos are all too familiar with. This is not to say that people with other backgrounds don’t face their own challenges. But in the case of “Rosario”, Vargas explores that in a Sam Raimi-esque horror way using gross practical effects.

ABOUT “ROSARIO”

We are introduced to Rosario as a girl just after her First Communion. During the celebration, this is where we also learn about her grandmother’s spooky Palo faith. We then fast forward to Rosario as a grown-up (Emeraude Toubia), where, thanks to a divorce, Rosario has been separated from her cultural roots. To the point where she now just prefers to be called “Rose” as she works as a Wall Street stockbroker.

Everything changes when she receives a call that her grandmother, Griselda (Constanza Gutierrez), has passed away, and they need a relative to be present when her body is collected. She arrives as a winter storm is swirling, to the point that she is trapped in the dark, filthy apartment until the ambulance and her father can arrive.

As Rosario waits, the apartment seems to become a whole other world that tempts her to investigate what her grandmother was into, only intensifying after finding her bloody tampon on an altar. As the film progresses, with the help of a book, she continues to learn more about the ancient practice of Palo Mayombe. Rosario also becomes convinced that her grandmother has put a curse on her for allegedly betraying the Fuentes family. The film follows a basic haunted house structure that offers supernatural attacks and jump scares that are often interrupted by a neighbor who wants his air fryer back.

Rosario

WHAT WORKS IN “ROSARIO”

What I think “Rosario” does best is the visual world that Vargas sets up in the apartment. Using clever lighting, it feels like Rosario is exploring a whole other dimension at times. One that is filled with the supernatural relics of Palo. It gives the notion that her grandmother has been consumed by her faith, with the decrepit state of her apartment.

I also enjoy the use of practical effects. For me, they are more effective as they are visceral and carry so much weight. Just the sight of Rosario cutting her grandmother for whatever blood she had left was nearly to watch. I also really enjoy the foundation of the story surrounding family and tradition, as it is something a lot of our generation can relate to.

WHAT DOESN’T WORK IN THE FILM

With that last point of family and tradition still in mind, it’s also a disappointing aspect of the film. I feel that we needed Rosario to be shown to be a little more detached from her culture, making her journey of discovery at the apartment that much more impactful. Besides a “curse” why would it be so important for her to reconnect with her family’s culture? Instead, the film tries to rely on classic haunted house tropes, treated like a checklist.

My biggest frustration in “Rosario” is the wasted talent of David Dastmalchian. We have seen what kind of force he could be in the horror genre. But in this film, he is restrained to being a neighbor who wants his air fryer back. I feel like he could have played a more impactful role that could have raised the quality of this film.

ALSO SEE: THE LAST DRIVE-IN: CURSES AND CONSEQUENCES [REVIEW]

OVERALL THOUGHTS

I feel like “Rosario” offers a very “by the book” horror film, which, to be honest not bad for a first-time director. It’s a decent film to watch for great practical sets and effects. I am excited to see how Vargas grows from this film and applies it to future projects.