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But she will keep Delia’s secret and somehow find a way to fulfill Delia’s dying wish, that a “treasure” she left buried in the walls of the de la Mora mansion, which they’ve now sold, be recovered.įor that Paulina will need the help of pretty and “experienced” sister Elena ( Aislinn Derbez) and hapless and gay brother Julián ( Dario Yazbek Bernal) and a parade of other family members, none of whom are supposed to know Delia’s health.Īnd they’ll need the help of “the girls,” the quartet of muscular transgender employees/friends who know how to get a dirty job done - in this case, knocking a hole in a wall. The hook here is that beloved nanny/housekeeper Delia ( Norma Angélica) is dying, and only Paulina de la Mora ( Cecilia Suárez) knows. But it doesn’t do justice to the Almodóvar-does-a-telenovela gender-bending spoof that Caro cooked up for three seasons on Netflix. That’s a John Lennon quote made famous by “The Best Exotic Marigold Hotel,” and it fits the finale if you’re of a mind that Caro will make MORE sequels. The squishy closing credits coda feels like an apology, a promise or a threat, depending on how you take the preceding movie. The film is an exceptionally messy and character-cluttered rush with few laughs among its various players’ reprising their Greatest (Character Trait) Hits. It doesn’t quite manage either, although the latter was more Caro’s aim. Or it could have been a fond send-off, with series creator (and “Movie” writer-director) Manolo Caro tying up loose ends, unleashing the members of the de La Mora clan on their foes, rivals, ex-lovers and hapless bystanders one last sentimental time. “The House of Flowers: The Movie,” might have been a sequel that’s a fun introduction to the ground-breaking Netflix series about a big, affluent and very dysfunctional Mexico City family that owns a flower shop and a gay cabaret both named “The House of Flowers (La casa de las flores).”