A new horror movie has arrived on Netflix and it’s been making waves: Tin & Tina. The plot, of Spanish origin by director Rubin Stein, delivers a sinister and curious story that draws the attention of horror fans.
Bizarre children have been the subject of horror movies for a long time, just remember characters like Damien, from The prophecyor the brothers Elias and Lukas, from Good night mom. Now it’s the turn of the brothers Tin and Tina (Carlos González Morollón and Anastasia Russo) to join this group.
Warning: this review may contain Tin & Tina spoilers!
Plot
The film Tin & Tina, like many other horror films, has religion as its main focus. The story begins when two siblings, a girl and a boy, are adopted by a couple who face the trauma of having lost a twin pregnancy and the news that the woman will no longer be able to get pregnant.
In the midst of mourning, the opportunity to adopt twins arises and the couple does not hesitate in the decision. The problem, however, is that children were raised in the church and only know how to talk about God and religion, wanting to follow what the Bible says to the letter.
So, with innocent smiles on their faces, children are able to smother their mother so she can see God, or purify the family dog by ripping out its heart and sewing it back into its body. There’s something about horror movies that take place in daylight or in the light of a good lamp that makes them scary in a different way, just remember Midsummerfor example.
Direction
the aesthetics of Tin & Tina is well-aimed, set in an era of tube TV and no cell phones, featuring albino children who contrast with the vivid colors we see on screen. But more than that, the film has a good direction.
Director Rubin Stein spared no efforts to put into practice what he had learned about the best and most creative angles to tell a story full of suspense, abusing perfect and centralized framing, or even a good long shot.
Religion
The presence of religion and the figure of Jesus is explicit at all times, from the various crucifixes hanging in the house to the name of the protagonist. Lola (Milena Smit), initially, is presented just like that, but we soon discover that she is called Maria Dolores, or Maria das Dores, one of the names attributed to the Virgin Mary.
Lola, however, is not at all religious and her conflicts with the children result in a rather bizarre constant fight, and the film delves into miracles and punishment to tell the story. There is no revelation that children, in fact, would be the opposite of goodness, but rather an acceptance of these practices.
All these combinations make the film Tin & Tina with a lot of potential, but until the end of the story, the feeling is that something special was missing for a good ending. Even so, the unexpected and bizarre ending makes a lot of sense, after all, we don’t need a satisfactory conclusion for those who are watching, just handing over the references so that different conclusions can be guessed.
You can already watch Tin & Tina on Netflix.
