Community Reviews

Who Watches the Watchers (S03E04)

Airdate: October 15th 1989

Written by: Richard Manning & Hans Beimler Directed by: Richard Weimer

Running Time: 45 minutes

Arthur C. Clarke’s 1962 book Profiles of the Future famously posited that “any sufficiently advanced technology is indistinguishable from magic.” This concept, which has since become a cornerstone of science fiction, is the beating heart of Who Watches the Watchers, one of the most enduring and [adjective] episodes of Star Trek: The Next Generation (TNG). The episode’s creators wove Clarke’s idea into a narrative that explores the blurred line between the miraculous and the mundane, using the premise of a primitive alien civilization to question the very nature of progress and the ethical boundaries of exploration. While the episode’s premise—centred on a Vulcan-like race at the Bronze Age levels of civilisation—might initially seem anachronistic, it becomes a profound meditation on the human (and alien) condition, making it one of the most memorable and thought-provoking episodes in TNG’s history.

The episode opens with the USS Enterprise-D being sent to Mintaka III, a planet where the Federation has established a science observation post under the leadership of Dr. Barron (James Greene). This post, manned by two other scientists, is tasked with observing the native Mintakans—a humanoid species at a pre-industrial stage of development. To uphold the Prime Directive, the post is hidden behind a holographic shield, ensuring that the Mintakans remain unaware of the Federation’s presence. The Enterprise is initially there to deliver supplies and later repair the post’s reactor, but the mission takes a dramatic turn when a catastrophic power surge injures the scientists and removes the shield. This moment of technological failure exposes the post, allowing a Mintakan named Liko (Ray Wise) to glimpse the Federation’s presence before falling from a cliff.

Dr. Crusher intervenes, saving Liko’s life and bringing him aboard the Enterprise. She not only tends to his injuries but also employs Dr. Pulaski’s memory-wipe technique to erase Liko’s recollections of his time aboard the ship. However, the process is imperfect, leaving Liko with enough fragmented memories to begin constructing a cult that venerates Captain Picard as a deity. This unintended consequence—where the very technology designed to prevent cultural contamination instead sparks the birth of a new religion—sets the stage for the episode’s central conflict.

When Picard learns of the cult’s emergence, he is forced to confront the ethical dilemma of the Prime Directive. While the Federation’s mission is to observe and not interfere, Picard’s moral obligation to protect a sentient being clashes with the directive’s strictures. To address this, he sends Riker and Troi, disguised as Mintakans, to infiltrate the cult and prevent its spread. Their mission, however, spirals into chaos when Troi is captured, and Liko, believing that sacrificing her would please “Picard,” prepares to fulfill his godlike role. This moment of tension and tragedy underscores the episode’s central theme: the danger of treating advanced technology as a form of magic, and the ethical compromises that arise when humanity (or a crew of humans) must act in the name of progress.

The resolution of the episode is both a testament to Picard’s humanity and a critique of the very principles that underpin Star Trek. Picard is forced to use the authority of Nuria, the Mintakan community leader (Kathleen Leigh Scott), to intervene. He beams her up to the Enterprise, demonstrating the wonders of technology to prove that he is not a god but a man with limited knowledge. When he later returns to Mintaka, he stands in front of Liko’s bow and arrow, allowing himself to be wounded to save Troi. This act of self-sacrifice is a powerful affirmation of Picard’s humanity, rejecting the notion that his knowledge or power grants him divine status. It also serves as a poignant reminder of the Prime Directive’s limitations: in the face of an unintended consequence, the Federation must sometimes break its own rules to uphold the greater good.

The episode’s production quality is equally impressive, with director Robert Wiemer making effective use of Vasquez Rocks, a real-life location that adds a tactile, almost mythic quality to the alien world of Mintaka III. The costume design, makeup, and production design all contribute to a credible depiction of the Mintakans, with their Vulcan-like features and tools enhancing the sense of a civilisation at a pre-industrial stage. The guest cast, particularly Ray Wise and Kathleen Leigh Scott, deliver standout performances, with Wise’s portrayal of Liko—a misguided, tragic figure—adding depth to the episode’s exploration of religion and identity.

However, the episode’s most controversial aspect is its unflinching anti-theistic stance. While the Mintakans’ religion is a product of their own cultural primitivism, the episode frames it as a dangerous, superstitious force that embodies the very things the Prime Directive seeks to prevent. This perspective, rooted in Gene Roddenberry’s secular humanist ideals, has sparked debate among fans who argue that the episode’s portrayal of religion is overly harsh. Yet, the episode’s willingness to challenge the notion of “gods” as a human construct—whether alien or human—resonates with the core ethos of Star Trek.

Despite the controversy, Who Watches the Watchers is a masterclass in storytelling, blending science fiction with philosophical inquiry. Its use of continuity is particularly noteworthy: it is the first episode to acknowledge Dr. Pulaski since the end of Season 2. The tapestry from Mintaka becomes a recurring motif, later appearing in Picard’s ready room, a subtle nod to the episode’s legacy.

At the end, Who Watches the Watchers is a pivotal episode that challenges the viewer to consider the implications of advanced technology and the moral complexities of the Prime Directive. It is a testament to the show’s ability to blend science fiction with profound human questions, making it a enduring example of the genre’s potential to explore the intersection of progress, ethics, and the unknown.

RATING: 7/10 (+++)

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Brian And Charles (6.8/10)

One of the things he tried to make was a Robot I assume to have some kind of companion as he's rather lonely since he quite otherworldly. At first it doesn't work but eventually it does and the movie follows the evolution of the friendship and the wondering about the world of the Robot who is named Charles. The town and some of the people who live there also is a theme of which one is a bully which becomes one of the main story arch

This clearly is a low budget movie and the Robot Charles is literally a guy inside a too big cardbord box which represents a Washing Machine with a puppet head sticking out on top and legs of a normal human. If anything, it reminded me of bad visual effects of the early Doctor Who Episodes which had theor charm. The story itself isn't anything groundbreaking but especially with the bully situation manages to spark some emotions.

Conclusion As I watched this one with a friend and we talked a bit especially at the start of the movie, I wasn't always as focused on it but it still worked and I ended up just enjoying this one without anything more. I would say it's a fun movie if you don't have much time and are into weird lower budget movies. I would say a movie with a big heart, some good laughts and emotions that delivers what you can expect from it from reading the plot or watching the trailer. A Solid 6.8/10

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I saw Season 4 of The Witcher and i have to tell you something: many people made a huge mistake.

It's not just about the story, it's about the pace. It feels like they gave up that heavy walking, all the political ballet and the boring setup. Here, the action is direct and brutal. It's much more attractive, much more engaging. You could say they took all the adrenaline from the books and injected it into the screen.

Basically, from the first second, you are thrown into an epic story that doesn't give you a break. The fights are faster, the monsters are fiercer, and Geralt... the new Geralt feels more like an unstoppable force. He's quieter, more efficient, you know? He's that deadly Hunter we wanted to see.

And, you know, the cool thing is that The Witcher has finally found its flow. In past seasons, you sometimes felt like you were in a history lesson—you had to pay attention to three different timelines, understand why this king was doing what he did. Here? There's no time to think. Everything is put together and served to you on a platter.

• But you know what really got me? The supporting characters, who now shine.

First of all, the vampire. When I saw the actor from The Matrix (Morpheus!) in this role.... He's not that classic, boring vampire. He's a guy who studies, who prepares herbal remedies. He's such an atypical and intelligent presence that he instantly grabs you. He's the kind of character who creates addiction through his mystery, just like an unknown cure. He brings a philosophical complexity to the midst of chaos, but does it in a totally digestible way.

And the Witcher killer? The perfect antagonist. This guy plays the role with cold and methodical satisfaction. He's not a screaming villain, he's a calculated threat that shows you that the hunter can become the prey in turn.

Muy buenas tardes mi gente, espero que todos esten super bien, un gran abrazo para todos, en este dia con una nueva ediciòn. Espero la disfruten.

La Venganza es una telenovela producida por Venevisión en 1983, escrita por Julio César Mármol. Se trata de un drama apasionado donde el amor, la culpa y el deseo de justicia convergen en una historia intensa y cargada de emociones. Protagonizada por Hilda Carrero y Eduardo Serrano, la novela retrata cómo los actos del pasado pueden generar consecuencias profundas y duraderas.

-Título: La Venganza. -Canal: Venevisión. -Año de emisión: 1983. -Guion: Julio César Mármol. -Protagonistas: Hilda Carrero, Eduardo Serrano. -Género: Melodrama con intriga familiar.

La trama sigue a Iris Magdalena (Hilda Carrero), una joven rica que regresa a Venezuela tras estudiar en Europa, con la noticia de la muerte de su padre. Sin embargo, su fortuna ha desaparecido y su familia está en crisis. Además, Iris descubre que su hermana menor, Bélgica, murió en un accidente que podría no haber sido un accidente: su madre, convencida de que fue un crimen, acusa a Miguel Antonio Araujo (Eduardo Serrano), exnovio de Bélgica, de haber provocado el accidente por celos. Movida por el dolor y el deseo de justicia, Iris decide vengarse de Miguel Antonio, emprendiendo un camino oscuro que la llevará a enfrentarse con su propia familia y con los fantasmas del pasado.

La novela es un ejemplo del melodrama intenso que caracteriza muchas producciones de los años ochenta: el amor no es suficiente, y la venganza se convierte en motor narrativo. Hilda Carrero da vida a Iris con una mezcla de vulnerabilidad, orgullo y determinación, mientras Eduardo Serrano encarna al hombre acusado injustamente, atrapado entre el amor y la culpa.

El guion de Julio César Mármol construye una historia sólida de resentimiento familiar y justicia, mientras la producción de Venevisión ayuda a crear una atmósfera creíble de traición y poder.

La Venganza (1983) es una telenovela significativa porque representa la fuerza dramática del conflicto familiar y personal. Su exploración de la traición, el perdón y el desquite la convierte en una pieza emblemática del melodrama venezolano clásico, muy adecuada para documentar cómo la telenovela puede reflexionar sobre el pasado y sus consecuencias emocionales.

Bueno mi gente espero les guste esta ediciòn del dia, fue muy complicado conseguir de la novela como tal, pero conseguimos de estos dos grandes artistas que fueròn protagonistas de esta telenovela, y que realizaròn muchas obras juntos. Bendiciones.

This is a cross post of @herosik/alien-romulus-2-or-alien-season-2-or-new-work-from-the-simpsons-showrunner-or-percy-jackson-season-2-or-new-marvel-chronology-o by @herosik.

Hello, pack of fresh news.

🇬🇧 English Version

Hello everyone,

It is time for another review on a movie I recently watched, and it is time for me to sit back and relax with a movie playing on my TV screen. This time it is The Thursday Murder Club. I have to confess first that I am a sucker for murder mysteries, either in comedy or drama form. Well, this movie is a comedy. It is not too serious, but it has a twisted ending to it, which I will try my best not to spoil or give away.

♟♟♟♟♟♟♟♟♟

🇪🇸 Versión en Español

Hola a todos,

Es hora de otra reseña de una película que vi recientemente, y también es hora de sentarme y relajarme mientras una película se reproduce en mi pantalla. Esta vez se trata de The Thursday Murder Club. Debo confesar primero que soy una amante de los misterios de asesinato, ya sea en comedia o drama. Bueno, esta película es una comedia. No es demasiado seria, pero tiene un giro al final que intentaré no revelar ni arruinar.

La película se centra en Cooper Chase, un asilo para personas mayores lleno de diferentes actividades como pintura, tejido, natación y otras actividades de convivencia que pueden hacerse entre amigos. Estas actividades se dividen en clubes, y quienes pertenecen a un club participan en ellas en horarios distintos. Lo particular es que estos grupos terminan formando pequeños círculos de amigos que comparten intereses en común.

El Thursday Murder Club nace cuando Elizabeth, una exespía, y su amiga —quien está en coma— deciden investigar misteriosos asesinatos. Otros miembros del club incluyen a Ron, interpretado por Brosnan, el tipo gracioso recordado por su papel en James Bond; Ibrahim, un psiquiatra retirado que analiza los casos desde la psicología; y Joyce, una enfermera jubilada invitada al club por su experiencia médica.

El asesinato que investigan es interesante porque involucra a los dueños de un edificio. Ocurre poco después de una fuerte discusión entre ellos: uno quiere vender y el otro quiere conservar el edificio. Todo se vuelve más misterioso cuando comienzan a aparecer más secretos tras la muerte de una sola persona. Ese es el encanto de la película: esperas que avance en una dirección y de repente toma otra. Los giros son exactamente lo que yo disfruto.

El humor de los personajes es lo que mantiene entretenida la historia. Por ejemplo, cuando el esposo de Elizabeth la llama “la difunta Reina de Inglaterra” por su atuendo. O cuando Elizabeth se hace pasar por Joyce para ir a la estación de policía. Incluso manipulan a la policía usando su edad como ventaja, actuando como si no entendieran nada.

El jefe de policía se enfurece porque este club siempre va un paso adelante. El Thursday Murder Club es astuto y sabe cuándo aprovechar su edad. Si te encantan los misterios como a mí, deberías ver la película. Está basada en la novela de Richard Osman con el mismo título. Veamos qué tan rápido descubres quién es el asesino.

♟♟♟♟♟♟♟♟♟

Nota: reseña en inglés escrita por la autora. Traducción al español generada con la IA de ChatGPT.

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Keanu Reeves is one of the greatest Hollywood stars of the last few decades, particularly renowned for his work in the action genre. The series of his successes in this field is quite long, and it is easy to imagine how he will continue to enjoy the status of an unassailable film action hero in the seventh decade of his life, possibly even later, akin to the current status of Liam Neeson, or the one that Charles Bronson and Clint Eastwood once held. However, no matter how much his status as a star is acknowledged, he will not conceal the fact that Reeves possesses the acting skills of a Slavonian oak, and that every film of his, conditionally speaking, "serious" and less "breezy" in action, will end in more than a serious danger, finishing like an average Croatian state-financed drama film Nothing better illustrates this than his 2018 film Siberia.

In terms of genre, the film nominally belongs to the romantic thriller sphere. It begins when Lucas Hill (Reeves), an American diamond trader, arrives in Saint Petersburg to complete a sale of valuable blue diamonds. Hill faces a major problem: his Russian partner has vanished along with the diamonds, forcing him to fabricate excuses and alibis for the incomplete job. An additional problem is that the client is a local oligarch, Boris Volkov (Pasha D. Lychnikoff), whose reputation suggests a person who should not be disappointed. Hill is therefore forced to go on a diamond hunt, a trail leading him to the remote town of Mirny in eastern Siberia, known for its diamond mines. His arrival brings further issues, including inappropriate clothing for the local climate, poor transport services, and a lack of nightlife. This last issue, Hill attempts to compensate for by visiting a local café run by a young and attractive woman named Katja (Ana Ularu). Hill becomes infatuated with her carelessly, just as Katja feels a clear attraction to the bewildered stranger, who is so different from his friends, neighbors, and local residents. Hill simultaneously tries to decide the fate of their passionate relationship while resolving the mystery of the stolen diamonds, which could endanger both him and Katja.

The film's screenplay was written by Scott B. Smith, a novelist and screenwriter known for his Oscar-nominated adaptation of his novel A Simple Plan, while the director is Matthew Ross, who was previously celebrated at Sundance with his noir thriller Frank & Lola. Although these names suggest something good, or at least respectable, Siberia likely began to unravel the moment Reeves was cast in the role, a part that he could have performed far better by any character actor or even a middle-aged actor whose appearance better matched his age. Although the main plot involves some international intrigue, subterfuge, and murky business dealings, this film is actually a deadly serious drama about a man facing a midlife crisis at the worst possible place, attempting to resolve it in the worst possible way. Instead of some action, the film offers exceptionally slow scenes, usually with large detours into clichés, attempting to suggest cultural and other differences between Russians and Americans, but which most often show how poorly Reeves acts compared to his colleagues. This includes the Romanian actress Anna Ulari, who, for a moment, manages to create some "chemistry" with her co-star, but more notably the Russian-American actor Pasha D. Lychnikoff, who simply shines in his role as a dramatic villain. However, as time passes, the film, which mainly takes place in cafés and hotel rooms, begins to have authenticity issues; despite the title, the film, with the exception of a few scenes in Saint Petersburg, was not actually filmed in Russia, let alone Siberia; the famous mine in Mirny was reconstructed using obvious special effects, and the much of the locations shooting is done in Canadian Manitoba with appropriately planted birches that would give it some "Russian" charm. The authors also try to compensate by ensuring that almost all the characters, regardless of whether they were interpreted by American, Canadian, German, or Russian actors, speak Russian, including Reeves himself.

However, all this effort is further undermined by the complete screenplay failure, which becomes particularly evident in the second half of the film. Some subplots are completely missed, including the character of Hill's wife, who interprets a former American teen star, Molly Ringwald, in a single scene. All this culminates in a confusing, but exceptionally dark ending that was supposed to suggest a tragedy, but instead suggests where the screenplay should have ended before even filming began.

RATING: 4/10 (+)

(Note: The text in the original Croatian version is available here.)

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Pay in Pain (S01E07)

Airdate: April 23rd 2002

Written by: Shawn Ryan Directed by: D. J. Caruso

Running Time: 45 minutes

The episode Pay in Pain from The Shield is a complex and often contradictory exploration of Los Angeles’s social fractures, racial tensions, and the moral ambiguities of law enforcement. The city, is a place where wealth and glamour coexist with poverty and dysfunction, yet the most inescapable divides are rooted in race and ethnicity. This duality is central to the episode, which, under the direction of D.J. Caruso, becomes a deeply uncomfortable meditation on how systemic inequality and prejudice shape the lives of communities. While The Shield has always grappled with these themes, Shawn Ryan’s return as an episode writer in Pay in Pain elevates the narrative to a level of visceral discomfort that feels both necessary and, at times, exploitative.

The episode opens with a scene that immediately establishes the stakes: a gun range where multiple individuals are practicing shooting, their earplugs a critical detail that allows an unseen killer to ambush them one by one. The victims, including a pregnant woman, are killed in cold blood, their deaths a grim metaphor for the systemic violence that underpins Los Angeles’s social fabric. The police investigation, led by Vic, is complicated by the revelation that the victims are members of the Toros, a powerful Latino gang, and that one of them is the girlfriend of Train Gutierrez (Eduardo Batista), the gang’s leader. This connection to organized crime introduces a layer of tension, as the investigation becomes a matter preventing bloody gang war. Vic is given the case, but his initial reluctance to rely on Carlos Zamora (Michael Sanz)—a Hispanic detective from the Northwest Precinct with a past as a Toros member—adds to the episode’s moral ambiguity. Zamora’s tactics, which involve using his own history with the gang to extract information, are both a strategic advantage and a potential liability.

The investigation quickly becomes more complicated when a second massacre occurs at a Latino convenience store. The store owner, Leon (Tony Genaro), survives, but his son dies, and the killer is later identified as George Michael Klasen, a white man whose racist resentment toward the growing Latino population motivates his violent spree. Klasen’s in-laws are found murdered in his home, and his wife and son are missing, suggesting a pattern of retaliation. Klasen's actions, however, are not without consequences: Leon, who had previously encountered Klasen, admits to having caught him, but his decision to turn him over to the Toros leads to a violent retribution. The Toros, in their retaliation, torture Klasen and rape his wife in front of their child, a scene that underscores the cycle of violence.

The episode’s climax involves Vic and Zamora arriving at Train’s hideout, where they confront him after he kills Klasen. The confrontation is brief but intense, with Train’s actions revealing the brutal reality of gang life. The episode’s resolution, in which Train is left to go to prison, is a bittersweet moment, as it suggests a form of justice but also highlights the limitations of the legal system in addressing the root causes of violence. Meanwhile, Raoul Jimenez (Miguel Perez), an opportunistic Hispano activist, attempts to shield Leon and Train from the law, further complicating the narrative.

The episode’s subplot involving Julien’s decision to report Strike Team on their drug theft is a critical moment that underscores the personal and professional conflicts within the show. Julien’s persistence in doing the right thing, despite the risks, ultimately leads to Aceveda’s plan to undermine Vic. The episode’s climax, where Julien is forced to choose between ruining his career or protecting it by recanting his statement, is a powerful exploration of moral compromise. This moment is further heightened by the emotional stakes, as Vic’s decision to stand by Shane, a character who has been portrayed as a dysfunctional and dangerous member of Strike Team, is a deeply personal choice. Vic's actions, rooted in his own struggles with his son’s autism, make his loyalty to Shane a symbol of redemption. The scene, perfectly acted by Michael Chiklis and Walton Goggins, is the episode’s most compelling moment, as it highlights the show’s themes of loyalty and sacrifice.

The episode’s structure, however, is not without its flaws. The gun range massacre, while visually striking, is a scene that feels more like a sensationalist cold open than a realistic depiction of violence. The episode’s descent into a melodramatic revenge story is further exacerbated by the over-the-top resolution, which includes a final scene where Julien and Motyashik engage in a steamy, clichéd sex encounter before being interrupted by Vic. This scene, while undeniably entertaining, is a clear example of the show’s tendency to prioritize spectacle over nuance. Similarly, the subplot involving Wagenbach’s investigation of a psychic medium, Frida (Davenia McFalden), is a missed opportunity. The episode’s clichéd portrayal of Frida, who recognizes Wagenbach’s mental anguish over unsolved murder and makes him her customer, is a shallow attempt to add a layer of drama that ultimately distracts from the main narrative.

The episode also includes a brief, jarring scene where an African American woman, Glenda (Dee Freman), rants about the lack of security in her neighborhood. This scene, while meant to highlight social realism in the episode that look overly sensastional, feels out of place and overly theatrical, as it is disconnected from the main plot. The episode’s director, D.J. Caruso, is known for his work in the action genre, and while his style is evident in the gun range massacre, it also contributes to the episode’s sensationalist tone. The episode’s reliance on such scenes to drive the narrative is a double-edged sword, as it highlights the show’s commitment to realism but also its tendency to prioritize shock value over subtlety.

Despite these flaws, Pay in Pain is a watchable episode because of its ability to tie together various subplots and foreshadow future developments. The episode’s focus on Shane, a character who is both a liability and a symbol of the show’s themes, is a masterclass in character development. The episode’s ending, while somewhat contrived, serves as a reminder of the show’s commitment to exploring the moral complexities of law enforcement. The final scene, where Vic confronts Julien and Motyashik, is a poignant moment that underscores the show’s themes of integrity and personal sacrifice.

In conclusion, Pay in Pain is an episode that is as much about the show’s flaws as it is about its strengths. While the episode’s reliance on sensationalism and melodrama is evident, it also serves as a critique of the systemic issues that plague Los Angeles. The episode’s ability to balance these elements, while also highlighting the personal and professional conflicts within the characters, makes it a compelling but ultimately uneven entry in the series. The episode’s moments, particularly the emotional decision by Vic to stand by Shane, are the most memorable, as they encapsulate the show’s themes of loyalty, redemption, and the enduring struggle between justice and corruption.

RATING: 6/10 (++)

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Hola amigos de Movies & Tv, espero que se encuentren muy bien. Hace poco ví una película de A24 que me dejó pensando en los límites entre lo que deseamos como seres humanos y la locura que puede llevarnos a tomar decisiones extremas y algo enfermizas. La película se llama Lamb y es un drama que puede llegar a incomodar y a reflejar la desesperación que puede sentir el ser humano por llenar vacíos, como por ejemplo el de tener un hijo luego de muchas perdidas. Así que los invito a leer mi reseña de Lamb.

Hello, friends of Movies & TV, I hope you are all doing well. I recently saw an A24 film that left me thinking about the boundaries between what we desire as human beings and the madness that can lead us to make extreme and somewhat unhealthy decisions. The film is called Lamb, and it's a drama that can be uncomfortable to watch, reflecting the desperation humans can feel to fill voids, such as having a child after many losses. So, I invite you to read my review of Lamb.

La trama se centra en una pareja que vive en Islandia, ambos trabajan juntos en un pueblo bastante alejado de la civilización donde tienen una casa y una cabaña donde crian cabras. La historia se ve normal al comienzo donde solo se nota una relación normal entre María (Noomi Rapace) y Ingvar (Hilmir Snær Guðnason), pero ambos tienen el deseo de ser padres sobre todo luego de intentarlo tantas veces y ver qué el embarazo no continuaba. Sin embargo, un día una de las cabras embarazadas da a luz y mientras la ayudan para sacar a los pequeños se dan cuenta de algo extraño y desde allí empieza una historia que pocos comprenderían entre María y Ingvar y una de las pequeñas cabras, que es más que un animal y se termina convirtiendo en parte de la familia.

The plot centres on a couple living in Iceland, both working together in a village far removed from civilisation, where they have a house and a cabin where they raise goats. The story seems normal at first, showing only a normal relationship between Maria (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason), but both have a desire to be parents, especially after trying so many times and seeing that the pregnancy did not continue. However, one day one of the pregnant goats gives birth, and while they are helping her deliver the kids, they notice something strange. From there begins a story that few would understand between Maria and Ingvar and one of the little goats, which is more than just an animal and ends up becoming part of the family.

La película habla abiertamente del duelo y lo difícil que es procesarlo sobre todo cuando se trata de los hijos, María tiene un gran deseo por convertirse en madre y aunque sabe que anteriormente a perdido varios bebés, la vida mediante el mundo animal le permiten cumplir ese deseo de poder criar a un bebé. Solo que en este caso no es un bebé como tal al que cuida ni tampoco dió a luz a uno. Por loco que parezca, en medio del parto de una de las cabras nació un bebé diferente, con cuerpo de niño pero con cabeza de cabra y aunque causa impresión entre María y Ingvar, ambos en medio de su dolor deciden que pueden criarlo como si fuera un niño más, como si se tratase de su propio hijo.

The film openly addresses grief and how difficult it is to process, especially when it comes to children. María has a strong desire to become a mother, and although she knows she has lost several babies in the past, life through the animal world allows her to fulfil that desire to raise a baby. Only in this case, it is not a baby as such that she cares for, nor did she give birth to one. As crazy as it may seem, in the midst of one of the goats giving birth, a different baby was born, with the body of a child but the head of a goat. Although this shocks María and Ingvar, both of them, in the midst of their grief, decide that they can raise it as if it were just another child, as if it were their own son.

Esto puede generar impresión y a la vez pensar que están completamente locos por tener una idea en sus cabezas de críar a un animal que realmente no nació correctamente aunque ellos siempre intentan mientras va creciendo enseñarle todo lo que un niño haría, siempre resguardandolo de otros que puedan verlo y notar la diferencia y lo extraño en el aspecto del animal y el comportamiento de ambos simulando ser sus padres. Hay una escena donde el animal ya está más grande y María lo lleva a dónde están enterrados todos sus bebés muertos y es fuerte porque vemos que ella incluso uso el mismo nombre para cada bebe, ella realmente deseaba ser madre y los límites que hay entre la cordura y la realidad la llevan a tomar esa decisión aunque no esté bien ni para ellos ni para el animal.

This can be shocking and make you think they are completely mad for having the idea of raising an animal that was not born properly, even though they always try to teach it everything a child would learn as it grows up, always protecting it from others who might see it and notice the difference and strangeness in the animal's appearance and behaviour, both of them pretending to be its parents. There is a scene where the animal is older and Maria takes it to where all her dead babies are buried, and it is powerful because we see that she even used the same name for each baby. She really wanted to be a mother, and the boundaries between sanity and reality led her to make that decision, even though it was not right for them or for the animal.

La película tiene esa aura de A24 dónde nos presentan una historia que puede verse simple al comienzo pero luego se torna muy turbia. Es algo de lo que disfruto de ver de esta producción y de la manera en la que siempre presentan historias diferentes pero que te dejan impresionado o con una sensación de haber visto una locura. La película no tiene muchos diálogos lo que hace que se sienta la tensión sobre todo cuando llega otro miembro de la familia y se da cuenta de la dinámica que tienen en la casa con lo que es para esa persona un ser antinatural, tratando de que ellos se den cuenta de que están mal con lo que hacen.

The film has that A24 aura where they present us with a story that may seem simple at first but then becomes very murky. It's something I enjoy about this production and the way they always present different stories that leave you impressed or with a feeling of having seen something crazy. The film doesn't have much dialogue, which makes the tension palpable, especially when another family member arrives and realises the dynamics in the house with what is, for that person, an unnatural being, trying to make them realise that what they are doing is wrong.

Hay varias cosas que hacen interesante a esta película, además de los pocos dialogos también hay un ambiente de tensión en cuanto a las imágenes del rebaño de cabras y la forma en la que muestran sus caras y su mirada, además de que la cabra que da a luz a esta criatura siempre está presente de alguna manera buscando a su bebé incluso llegando a escaparse del rebaño y llegando a la ventana del cuarto de la cabra bebe. Vale la pena ver la película a pesar de que al comienzo nos sabemos que esperar de la historia y tiene un final súper inesperado donde ocurren tantas cosas en los últimos minutos que se siente como todo se va destruyendo, sobre todo la familia que conforman María y Ingvar.

There are several things that make this film interesting. In addition to the sparse dialogue, there is also an atmosphere of tension in the images of the herd of goats and the way their faces and gazes are shown. Furthermore, the goat that gives birth to this creature is always present in some way, searching for her baby, even escaping from the herd and reaching the window of the baby goat's room. The film is worth watching even though we don't know what to expect from the story at the beginning, and it has a very unexpected ending where so many things happen in the last few minutes that it feels like everything is falling apart, especially the family formed by Maria and Ingvar.

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