Screenwriting and directing duo Álex Pastor and David Pastor face the enormous task of crafting a story that is as engaging, thrilling, and unique as Bird Box without relying on the same themes and plotting. Bird Box Barcelona suffers from the reality that the creatures cannot truly be revealed, as the premise thrives on the characters and audiences not knowing what they are. This may lead to repetitive actions and scenarios, requiring creativity on the part of the filmmakers. However, the franchise can’t continue without feeling redundant or evolving to the next step, figuring out how to defeat these beings or developing a cure. Both of these possibilities are hinted at in Bird Box Barcelona, but they’re not fully explored. The Pastors work on this by honing in on personal narratives and teasing the possibility that humans can resist and defeat these creatures. The allure of the unknown is still very much intact, but a third film may not be able to maintain the shtick.

Set at the same time as 2018’s Bird Box, Bird Box Barcelona follows a group of survivors of a sudden, catastrophic attack from an unknown entity that causes severe hallucinations and suicides. We go to Barcelona, Spain, to follow Sebastián (Mario Casas) and his daughter Anna (Naila Schuberth) as they navigate the dangerous and desolate streets of Barcelona. The father-daughter duo join other survivors to find a safe haven as unknown creatures and other humans hunt them. How characters fill the logical gaps and explain away their grave predicament is part of the frightfulness of the story. Georgina Campbell’s Claire and Naila Schuberth’s Sofia operate as secondary leads, and the two are positioned to contrast Sebastián and Anna. Claire is kind and considerate, which contrasts well with Sebastián, who is a weary, lost soul, nearly defeated by grief and fear. The two girls are representative of two of the prevailing emotions in the movie — despair and hope. As the four come together, their lives are changed by the experiences they share, as well as certain revelations that will undoubtedly cause a ripple effect.

Bird Box Barcelona zeroes in on the human threat as our characters theorize on the true nature of these creatures that cause them to hallucinate their deceased loved ones and encourage the observer to die by suicide. In this parallel story, instead of a character study following a woman bravely becoming a mother, we explore the different dynamics within the human population that survived the initial attack. Distrust, fear, and anxiety are at an all-time high, forcing humans to alter how they see each other, especially as some want everyone to “see.” This time, the story is led by a father riddled with grief and desperate to reunite his family. As he journeys through the streets of Barcelona, he encounters people with their own personal motivations to survive, which helps him evolve and make peace with his situation. Our characters use science, religion, the supernatural and the extraterrestrial to explain the hallucinatory effects of the creatures, but there is still no answer.

Mario Casas and Alejandra Howard are the emotional core of Bird Box Barcelona. There are layers to their story that cannot be touched on too much, for it will head into spoiler territory, but what I can say is the trajectory of their journey is gut-wrenching, emotional, scary, and bittersweet. The two remarkably portray the complex range of their characters’ emotions and mental state. As for the rest of the cast — rising Mexican star Diego Calva, Patrick Criado, Lolo Dueñas and Gonzalo de Castro — fill out the ensemble as survivors waiting to be picked off. They each bring their own emotional baggage and drama, but the story ultimately belongs to Casas and Howard as their journeys are chronicled from beginning to end.

The film differentiates itself from Bird Box by taking a head-on approach with the characters’ determination to understand or rationalize. There is also far more engagement with the creatures, as some of our characters are eager to experience something beyond comprehension. There is more emphasis on how these non-corporeal entities are perceived as some divine retribution., but no one knows for certain. Sebastián believes this is all in God’s plan, as his faith keeps him from losing all hopelessness. Faith is a central tenant of the two Bird Box films, but here there are more overt analogies to religion. However, for those wishing to gain clarity, there is none to be had by the time the credits roll. There is only speculation, and the writer-directors do well to weave in the anxiety of not knowing into the film’s atmosphere.

Daniel Aranyó’s cinematography is transcendent, bringing us on a near-spiritual journey; it’s a contrast to Salvatore Totino’s more grounded approach for Bird Box. It still feels like the two films exist in the same world, though, as Aranyó deploys a tactical approach, effectively utilizing light to convey the sinister and ethereal presence of the creatures. The cinematography aids the special effects that are used throughout. Zeltia Montes blends the feeling of fear and dread with that of hope and love in a score that resonates deeply with our protagonist’s journey. Montes also effectively underscores the uneasy nature of the situation. The Pastors masterfully bring these elements together to emphasize the sensory experience that Bird Box Barcelona is meant to provide its audience.

The film is an effective, thrilling, frightening horror, perfect for those who enjoyed Bird Box and are thrilled by the prospect of more. Bird Box Barcelona manages to differentiate itself from its predecessor enough to stand on its own, while still creating a unified experience. One can go without viewing the previous film, as Bird Box Barcelona leads us through the timeline without making the premise entirely dependent on knowing what came before. Netflix has another winner on its hands; hopefully, the momentum can be maintained with a third film if the streamer chooses to venture forward with a Bird Box universe.

Bird Box Barcelona begins streaming on Netflix Friday, July 14. It is 110 minutes long and is not yet rated.