There are fake nightmares and real nightmares. What separates the latter from the former is that when you wake up – if you’re successful – you’re still scared. From sickness, from poverty, from madness one comes out trembling. And in the latter there are also nightmares for third parties: horror pursues a lover.
El hijo zurdo (Movistar Plus+), a mini-series by Rafael Cobos that adapts Rosario Izquierdo’s novel of the same name, tells the story of one of the latter. Lola (an extraordinary María León) loses her son. It disappears like the water running from his hands, to quote the song by Bambino, which gives a memorable sequence in another script by Cobos (Group 7), which he directs for the first time and differs from his usual Alberto Rodriguez separates.
There is the terror of parents with children who are bullied, but there is far less talk about what happens when your child becomes a bully. One day you give birth and the next your child is missing a neo-Nazi. Little is said about bourgeois marginality, about those good children who end up becoming fatal children. And from normal mothers. Because Lola also has to fight against her own demons, who are swimming in alcohol. But this is mostly a contraceptive series, to use the adjective the wise Rosa Belmonte uses for Euphoria. contraception and otherwise.
In an interview about the book, the author quoted Bourdieu: “Sometimes I’m afraid that people will wake up when it’s already too late.” As if anyone could boast of being awake. God gives us nothing that we cannot endure, says a character in The Left-Handed Son, adopting a verse from the first letter to the Corinthians. Well go with God.
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