Quicksand, the latest film by Andres Beltran, tries to transport audiences to Colombia’s perilous jungles. The main characters of the movie are a married couple who are about to file for divorce and who find themselves in a life-or-death scenario when they are stuck in quicksand. Their capacity to put aside their differences and cooperate becomes crucial to their survival as they battle the harsh elements of nature. Quicksand covers the intricacies of interpersonal relationships as well as themes of love and resiliency.
The two lead performances by Carolina Gaitan and Sebastian Eslava, who play the endangered couple, are among Quicksand‘s most impressive elements. On-screen, the two share a fantastic relationship that is both tangible and genuine. When they start to panic in the sequences where they are caught in the titular quicksand, it all feels real and you can sense that they are scared.
They are unhappy that they might never get the chance to see one other again in addition to being concerned about what is going to happen soon. They didn’t anticipate spending their final seconds on Earth together while trapped in quicksand that is slowly dragging them beneath second by second.
To be totally honest, this movie would have been far worse without the two lead performances. Although the film’s editing and cinematography are both very good, it isn’t often a stressful or suspenseful experience. It’s a thriller with little substance.
The movie’s examination of the characters’ emotional journeys is one of its flaws. The strained relationship between the pair never really gets much depth or complexity. But despite that, it is convincing and compelling to see them go from a marriage on the edge of divorce to a team battling for survival. The principal performers give great performances, bringing real passion and sincerity to their parts.
The film’s poor direction, though, may be its worst shortcoming. The directing by Beltran is uninspired and unoriginal. Slow-motion images, which are intended to heighten tension in the movie, simply serve to drag out the already tiresome situations. The lighting in the movie is similarly mediocre, with little significant effort made to establish mood or ambiance.
Unfortunately, Quicksand‘s storyline lacks continuity and fails to keep the audience’s attention as the story goes on. The film introduces a wide range of individuals, each with their own goals and secrets, but falls short in providing them with enough room to grow. The storyline feels distant to the spectator since supporting characters come and go without having any real influence on the plot. The movie sometimes appears to give up on important narrative lines, leaving unsolved questions that annoy rather than interest.
Quicksand‘s tempo exacerbates its narrative problems. The movie sometimes drags its feet and wanders into pointless side stories that don’t really advance the main theme. The conclusion, on the other hand, lacks the emotional reward viewers want from a crime drama of this quality and feels hurried and disappointing. Beltran’s directing frequently lacks the dexterity required to keep viewers engaged and tense, resulting in a picture that seems scattered and unfocused.
You’re far better off seeing something like Buried or 127 Hours if, like me, you enjoy watching movies in which a character is forced to take desperate measures in order to escape from their circumstances and achieve freedom. Interested in some frights? Go with 10 Cloverfield Lane, one of my personal favorites.
While Quicksand has beautiful visuals, the story falls flat. Even while it makes an effort to investigate intricate psychological concepts, it eventually becomes bogged down by its own creative aspirations and fails to provide a convincing and emotionally compelling tale. The movie eventually leaves the viewer feeling unsatisfied since it struggles with pace, lacks character development, and is occasionally frustratingly monotonous. The film as a whole cannot be saved by the occasional potential brilliant moments found throughout. One can’t help but sense as the credits roll that they have been left wallowing in the quicksand of squandered possibilities and broken promises.
