The darkest light’, a confusing science fiction story

The darkest light’, a confusing science fiction story

chapter by chapter, Fair: The darkest light He poses questions to the viewer. It is a story whose axis is the sisters Eva and Sofía, two girls who are affected by the decisions of their parents. They are related to a series of deaths, as part of a ritual, that have raised dust within the region. His parents disappear. They receive all possible looks, from the police to the neighbors, who begin to suspect different issues in relation to the sisters.

That event, as a starting point, opens different paths within the series developed by Agustín Martínez and Carlos Montero (Elite). It is a content in which you want to combine different narrative genres to integrate them efficiently. About the first, the feeling is clear. In the case of the second there are more doubts. Fair: The darkest light, at times seems like an adult and Andalusian version of stranger things but they could perceive some searches in other police series, for example. In the middle of those aspects, different nods to horror and science fiction.

The challenge of combining so many aspects is to prevent confusion from being generated, so much favor influencing what should matter above all else: the story you want to tell. In that sense, Fair: The darkest light explore the history of the Cult of Light in which different people from the area are involved and which acts based on an aim that seems perverse. Like in fight club, in one way or another many know about it but nobody talks about them.

Fair: The darkest light, the winks
and implicit messages

Through the different people who are involved within that Cult of light, Fair: The darkest light it suggests how these types of practices are mixed in the various layers of society. It could be understood as one of the central messages of the series: the fascination for the occult, the mystery and the forces alien to man escape the status one has. In this way, it is also detailed how deep the idea of ​​that group has penetrated over time.

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The trail of that sect is so deep that it can be located even before the death of Francisco Franco. Although the series takes place a few years after that event, during the nineties, it exposes another interest of the series: dimensioning the influence of the Cult of Light through historical events. In this way, too, an interesting game is proposed for the spectator, when Fair: The darkest light it changes its aesthetic bet for a few moments to contribute to the atmosphere.

Some of the questions raised by the Netflix series

Agustín Martínez and Carlos Montero, along with their work team, stand out for details like that: they opt for a striking product, with plans that embellish the screen, with remarkable landscapes and scenery, while the story unfolds. When the camera is in smaller spaces, you can see how the creators throw various references to horror series and programs, those that resonate in scenes that are bloody at times, uncomfortable to look at, combined with others in which the explicit stands out.

This leads to a cocktail in which the mix of genres can make noise to the viewer. But the story is compelling: why did these people die? How are the parents of the protagonists involved? How do you manage all the load that it implies? How far can the corruption of a system go? How much can some distortion of faith influence the lives of others? It is likely that, through interpretation, answers and other questions will be found. But the open ending and the possibility of a second season in Netflix gives other clues.