There are fake nightmares and real nightmares. What differentiates the latter from the former is that when one wakes up—if he succeeds—he is still afraid. From sickness, from poverty, from madness one comes out trembling. And within the latter, there are also nightmares for third parties: horror haunts someone who is loved.
The left-handed son (Movistar Plus+), a miniseries created by Rafael Cobos, which adapts the homonymous novel by Rosario Izquierdo, tells one of the latter. Lola (an extraordinary María León) loses her son. She leaves him, like the water that slips from her hands, to quote the song by Bambino that gives a memorable sequence in another script by Cobos (Group 7), which he directs for the first time and separates from his regular Alberto Rodríguez.
There is the terror of parents with bullied children, but there is much less talk about what happens when your child becomes a bully. One day you’re giving birth and the next your child ends up missing a neo-Nazi. There is also little talk about bourgeois marginality, about those good children who end up turning into fatal children. And of regular mothers. Because Lola also has to fight her own demons, which swim in alcohol. But this is, above all, a contraceptive series, to use the adjective that the wise Rosa Belmonte uses to Euphoria. Contraceptive and different.
In an interview about the book, the author quoted Bourdieu: “Sometimes I fear that people will wake up when it is already too late”. As if anyone could boast of being awake. God doesn’t give us anything we can’t bear, says a character from The left-handed son, making a verse from the first letter to the Corinthians his own. Well, go with God.
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