In the opening moments of Bird Box Barcelona, a setup predicts the film's attempt at a superficial test of fate. Sebastián (Mario Casas), his daughter Anna (Alejandra Howard), and their friends are roller skating to celebrate Anna's birthday when the mediocre, Spanish-set "Bird Box" sequel begins. A blind trio of goons then jumps them for their meal. Later, they come upon some scavengers who beg for assistance. Sebastián claims to be a former engineer and to be aware of the location of a generator. Just a place to stay the night will do.

He is taken in by the group, who treat his injuries. The bus they are sleeping in is taken over by an individual, leaving everyone in the open while they are enjoying the amenities of a depot. If you've seen the original Bird Box, you already know the plot: There are creatures that appear to live in the air, and when you gaze at them, they whisper your most cherished aspirations to you in an effort to convince you to commit suicide. The story now poses the question, "Is Sebastián the shepherd or the wolf?" Although co-directors David Pastor and Lex Pastor are interested by the idea of incorporating religion into an apocalyptic story, their ideas lack style or coherence. This remake has the impression of trying to recreate the success of the earlier movie without adding anything new.

The song Bird Box Barcelona is inspired by a brief scene from Susanne Bier's debut film. Some people can gaze upon the creatures without committing self-harm in the future. Instead, they have created a cult centred on the creatures. Sebastián had an encounter with the Barcelona branch of that group seven months prior. It takes time before we discover the details of what took place. But in the interim, we discover Sebastián's mythology: He thinks these entities are seraphs. He also enjoys watching the celestial orb that appears to come from the dead and float up to the heavens.

Similar to many films, Bird Box Barcelona presents itself as a story about mourning while addressing the topic in the most uninteresting ways. Sebastián soon comes into a different group, this time being headed by the British-Spaniard Claire (Georgina Campbell). She is wearing the same colour scheme as Sandra Bullock did in the first movie, which is an overly obvious attempt to recapture the enchantment. The main characters among Claire's companions are an old couple named Isabel (Lola Dueas) and Roberto (Gonzalo de Castro), a lost German girl named Sofia (Naila Schuberth), and Octavia (an unused Diego Calva). The fact that almost all of them have experienced a loss makes them particularly susceptible to the creatures' whispers, which often contain the voices of deceased loved ones.

The Pastors' script, which draws inspiration from Josh Malerman's book, just touches the surface of loss. According to their film, the trauma caused by sorrow may cause you to become irrational, lose all sense of reason, and even embark on a holy jihad. But none of the characters seem to feel that sense all that strongly. Instead, all we get from them is their basic tragedy. Do any of them practise religion outside of Sebastián? Do people attribute the events to God? The movie doesn't try to make us care about this group of people since it is in such a hurry to draw a rapid comparison between Sebastián's objective and them.

It doesn't help that much of the suspense and mystery that surrounded the idea from the first Bird Box vanishes in this one. Instead, finding their way across Barcelona to a set of gondolas that will transport them to Montjuic Castle, where it is rumoured that survivors are hiding out, is the main objective for these survivors. They might even include Sofia's mother.