The abyss of wanting to believe the impossible

"Perhaps I am merely the dung in the garden of his life." With these words, the shaman André Malby spoke, through tears, of his son Mathurin, a boy who shunned the family legacy to live apart from his father's spirituality, a figure popularly recognized for his esoteric convictions. Years later, the testimony of actress Anna Alarcón about Malby and his mystery will lead her to connect with Mathurin to try to corroborate (or refute) his belief.

In the moral clash between mystical delirium and pragmatic self-denial, director Ventura Durall's cinematic approach is sufficiently apt to open a new avenue where the father-son conflict accentuates a portrait of the miracle of seeing oneself with different eyes. Without establishing anything definitively, the journey through the wound and its potential healing recalls the enlightened poetics of Jodorowsky's more grounded work, in a series of letters that explain the unease of growing up without an answer.

The film adheres to evocative imagery that invites us to consider the nuances of vulnerable individuals. But the narrative seems unwilling to go any further, in an act of faith in the face of trauma, contemplating the challenge that the future presents—more hopeful than in The offeringDurall's 2020 film—with more questions than answers, Supernatural It functions as an incentive to direct one's gaze towards a kinship with the inexplicable; as frustrating and unfair as life itself can sometimes be.