Mr. Serrador has once again demonstrated that he’s among the finest horror directors working, and it's regrettable that he didn't dedicate his career solely to horror films. While I appreciate his work on "Historias para no dormir" in Spain, "El Muñeco Maldito" in Argentina, and other horror movies like "La Residencia," I can’t help but feel that he missed an opportunity to fully explore his talent as a horror director. I suspect many others share my feeling that his creations are truly unique, leaving fans wanting more. He initially gained recognition in Spain, Argentina, and elsewhere as the son of another horror legend, but ultimately built his own impressive reputation. If anyone needs proof of this, "Who Can Kill a Child?" is perhaps one of the most unsettling ways to showcase his skill. The film’s portrayal of children was genuinely frightening, and although some might draw parallels with John Wyndham's "Village of the Damned" or Stephen King's "Children of the Corn," it creates a more mysterious atmosphere where explanations seem elusive. The sudden shift in children becoming evil, sadistic, merciless, and far more powerful than adults is a disturbing concept that prompts reflection on what children might think or do when left to their own devices. I’d like to believe that real-life children aren't plotting violence against adults, but the idea itself is an effective way to instill fear. "Who Can Kill a Child?" reminded me of Alfred Hitchcock’s “The Birds” because, despite having little in common on the surface, both films explore the unsettling notion of something seemingly harmless transforming into a terrible punishment for those who are helpless. Both demonstrate the desperation people would experience if something we take for granted suddenly became their worst nightmare. Written by Juan José Plans and Mr. Serrador himself, "Who Can Kill a Child?" tells the story of an English couple on vacation to the fictional Spanish island of Almanzora. Upon arrival, they are greeted only by a group of strange children who seem unfriendly. Despite being respectful and kind to the locals, Tom and Evelyn don’t take their hostility too seriously and proceed to their hotel hoping to find an adult for assistance. Unfortunately, the entire island appears deserted, with only these silent, creepy children wandering around. Things worsen when they discover that the children have killed all the adults for an unknown reason and are likely targeting them next. Vulnerable and without anyone to turn to, Tom and Evelyn are harassed by these diabolical kids, and there's nothing they can do to fight back because who could possibly harm a child? As I mentioned earlier, while the plot might superficially resemble "Village of the Damned" or "Children of the Corn," “Who Can Kill a Child?” feels considerably more raw and intriguing. A good example of this rawness is the opening sequence, which incorporates actual footage from tragedies where children were victims of adult choices. For instance, we see images from the Nazi holocaust, the Korean War, and other events—showing Jewish children carrying relatives to graves or malnourished babies in Niger. The purpose of these distressing images is to illustrate that children consistently suffer due to adult cruelty, and while Mr. Serrador’s method is debatable, I can't deny that this opening sequence presents some of the most shocking visuals I’ve ever seen. It’s a striking way to prepare viewers for a brutal film about vengeful Spanish children who seem intent on avenging all the suffering endured by children worldwide due to adult failings.

Source on TMDB