It has ceased to be a threat and six in the afternoon a thermometer at the entrance of Kinépolis, in Boadilla (Madrid), marks 36 degrees. Going to the cinema seems the best way to overcome the first Friday without a school. A family with three daughters between five and 10 years tries to get the tickets in one of the machines of this cinematic megacomplex that has “is that, dad, click on that,” says Martina, the older sister, her father while trying to decipher how the system works without success. “It touches us in the biggest room,” he replies to try to join the enthusiasm of his daughter, who identifies by his name each of the family members of the last installment of the Santiago Segura saga that bursts the collection every summer since 2019. Only on Thursday 26, day of the premiere, added more than half a million euros and was already a box office leader. According to provisional Comscore data, the company that audits the film ticket offices, between Thursday and Friday exceeded one million euros.
What this father does not know yet who, given up, will look for a human who facilitates the five tickets (just over 11 euros per person), is that this afternoon the room that has been recognized as the largest in Spain will look more like a refrigeration chamber because only about 50 seats of the thousand available will be occupied. Very few bodies to generate sufficient heat that combat the powerful air conditioning. The same disappointment should take two eight and 10 -year -old sisters, with a cotton cube of sugar in his hand, who, when he entered his mother shouted: “This is giant and will fill!”
A clear division of spectators is already perceived from the hall that distributes the rooms: the kids of more than 15 years without their parents and a few groups of colleagues. The rest of the minors focuses on room 25, which has two tickets, to see if Javier García (Santiago Segura) and Marisa Loyola (Toni Acosta) manage to throw some of their six children or those satellites that have been coupled to them during the four previous deliveries. Hence the subtitle of the film, Full nest.
At 15 minutes of advertisements and trailers of family films, a father shouts: “come and,” it is not clear whether because of the despair or for the desire that her five -year -old daughter demonstrates, who stands up and sings: “That it starts already, that the public leaves.” It doesn’t give time to finish the song when the movie starts. “Ueeee,” he celebrates.
From this moment on, the film has as many readings as there are age between the public. Children’s laughs are heard every time the youngest daughter of the film makes a joke or demonstrates her insightful pillas. It is easy to identify the laughter of fathers and mothers; Not only because of the tone, but because they will always happen to the jokes about the physical appearance of the character that Leo Harlem plays, the failed (and perhaps too repetitive) attempts to safely get rid of his father -in -law, his consuegra, his son -in -law and even his mother. The character is played by Loles León, who does not fail for the public, although the feeling is of already seen Since 2003, when he first appeared in the series There is no one who lives here.
“It is a costumbrista film,” he said safe during the promotion of this delivery and the previous ones. The saga began exploiting the already classic genre of parents overcome by circumstances (a couple of examples: Three single and a bottle y Honey, I have shrunk the children). That is, a plot based on a man who unleashes chaos and comedy by being unable to take responsibility for the most basic care of his children. The topic changes from the second installment, when there is a kind of deconstruction of the filmmaker’s character towards an alleged new masculinity from which more gags are deployed.
“These films triumph not because they condemn this character or because they want to dismantle this archetype, but because they kill themselves from him,” says the columnist and screenwriter Paloma Rando, who defends the counterpoint that Toni Acosta has contributed to the franchise: a mother who from the first installment identified in her husband “a brother -in -law.” “Because it was indeed and because comedy needs the conflict,” explained the saga’s own screenwriter,
Segura has strengthened a cast that also allows each spectator to find their mirror on the screen. “The emotional relationship of children with the characters is key in the success of this saga,” continues Rando. “Six years have passed since the first premiere, a time that for an adult can be less, but that for a child can mean almost all their childhood or even the entry into the first adolescence. They have been growing at the same time as the characters. That is very powerful and has a hook effect.”
The test is at the end of the film: as in many Pixar films, you have to sit down, even if the lights have turned on, because there is a surprise. In this case, a succession of images and videos that review moments of the five deliveries and a compilation of personal photos of the actors that show the significant changes that time produces in the smallest, some of them already adolescents and adults. “This generates an identity and a link that speaks in an intergenerational form and ends up creating habit,” says Pau Brunet, a film analyst.
Since 2019, Segura has taken more than nine million people to Spain and has raised more than 53 million euros with this franchise. “Between 2017 and 2024, Spanish producers have managed to develop more than 50 family films, both animated and real image, which have collected 224 million euros and sold almost 37 million tickets”, “And the great responsible for this income is the Bowfinger factory, with Santiago Segura and María Luisa Gutiérrez at the head. Together they concentrate nine titles that accumulate 86.6 million euros and almost 15 million euros and almost 15 million euros and almost 15 million euros sold ”.
The film director has fought the premiere of his films at the beginning of summer, becoming almost in summer opening event. “It becomes seasonal indicative, such as Christmas or Holy Week films,” says the film analyst, “and these traditions work very well not only in Spain but throughout the world.”
The screen goes black and a powerful light enters through the exit door after eight in the afternoon. The two brothers who have not endured the entire movie await the rest of their family congratulating themselves for their feat: “We have escaped to the bathroom and have not caught us.” A grandmother, already dispossessed of any filter, tells her granddaughter: “What a rollazo, have you not realized that I have fallen asleep?” Another mother, not so liberated by age and security that gives a clear awareness about the inevitability of time, confesses her two children: “This has been the most roll, but it has been fine.” The father continues with the positive reinforcement and finishes: “And now, for some burgers”; To the joy of their children.
Families have to cross the parking lot to re -enter Kinépolis where several fast food restaurants await them. Another day of school holidays surpassed.
