[REC]

On the data. Four Spanish films and two American ones, and the two sets do not mix. The Spanish four are one continuity. [REC] 2 resumes minutes after the first film in the same building on the same night, close enough that the pair play as a single story. [REC] 4 opens immediately after the second, with Angela pulled out of the building, and takes the survivors to a quarantined ship, which makes it the chronological end of the series. [REC] 3 is the one to explain. It is not a sequel in time: it is a separate outbreak at a wedding reception, running concurrently with the events of the first two films rather than after them, which is what the subtitle Genesis is pointing at. The reception starts in daylight and runs into the evening while the apartment building incident starts after midnight, so the third film arguably begins earliest of the four. What none of the films does is state a clock alignment, so no exact overlap is claimed here. The third film is also the one that changes format partway through. It opens as genuine found footage, from a relative's camcorder and a wedding videographer, and about twenty minutes in a character grabs the camera and smashes it on the floor, after which the title card appears and the rest is shot conventionally. Saying it is not found footage is as wrong as saying it is. The fourth film is conventionally shot throughout, so only the first two are found footage all the way. The American films are a separate line. Quarantine is a straight remake of the first film. Quarantine 2: Terminal is not a remake of [REC] 2: it continues from Quarantine, moves to an airport, and replaces the Spanish films' demonic possession with a mutant rabies virus. So the two American films have their own rules and should never be interleaved with the Spanish ones. On titles, the brackets are part of the name and the sequels use a superscript numeral in the official logos, which most databases flatten. Listings that write Rec 2 without brackets are using a cataloguing convention rather than the release title. Only the first two films are co-directed by Balaguero and Plaza; Plaza took the third alone and Balaguero the fourth.

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