Dour subject matter hides a strong mystery in The Snow Girl Season 1 Review, which was initially featured on Ready Steady Cut.
There are no spoilers in this analysis of The Snow Girl, a Netflix series.
Based on the book La chica de nieve by Javier Castillo with some significant revisions, Netflix’s Spanish drama The Snow Girl is both a terrifying what-if scenario and an engrossing crime-thriller piece of television.
Due to several extremely serious topics, macabre subplots that don’t even advance the main plot, and a streak of desperation and occasionally brutality that warrants a content warning, at the very least, it also gets the distinguished distinction of being difficult to watch.
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Therefore, aficionados of the genre will benefit from these six episodes, which together make for an engaging and (mostly) satisfying binge-watch. Just be prepared for the uncomfortable.
The mystery surrounding the abduction of five-year-old Amaya Martin from Malaga’s annual Magi Parade, also known as the “Three Wise Men,” serves as the central theme of The Snow Girl. She is briefly separated from her parents during the event’s commotion, but it is long enough for an unidentified assailant to take her.
Amaya’s case is looked into by the police and the press in the months and finally, years that follow her disappearance, particularly by an extraordinarily persistent reporter named Miren (a stoicMilena Smit).
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The Snow Girl uses this common formula to make a few wise choices. One is that it portrays events out of order while taking place across several time periods, including the days immediately following Amaya’s abduction, six years later, and nine years later.
You never get lost in the shuffle thanks to the fact that it is always obvious whether we are moving forward or backward in time, and the order of events is frequently employed to good dramatic effect. Putting the puzzle pieces together to show how something experienced in 2019 began in 2010, and so on, and so forth, can be satisfying.
Another wise choice was to present the press and the police’s points of view at every level of the investigation. There is a clear focus on how hasty journalistic action can make cases harder for the police to solve, but also how police inaction essentially mandates that the press and public solve cases for themselves.
Miren is a journalist with her own reasons to distrust law enforcement; more on that in a moment. There is an interesting tug-of-war going on here where we are confident that everyone has the best of intentions but takes completely different actions that are either hampered by bureaucracy or constrained by a lack of funding. The equilibrium holds.
Back to Miren, though. She is unquestionably the main character of the show, and the six episodes gradually reveal her customary torturous past. There are a few moments in The Snow Girl that I’m convinced exist to be as horrifying and uncomfortable as possible without really serving the narrative in any significant sense.
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It isn’t relevant to the main case, but it does crop up in a subplot in a way that feels slightly contrived but also a little perverse. A kidnapping of a child is horrifying enough, but The Snow Girl keeps twisting the knife and occasionally seems excessive.
By pretty much any logically consistent objective criteria, The Snow Girl is good. It is expertly written, captivating, wonderfully performed, and includes some clever structural touches that enhance the assured storytelling.
However, the subject matter is really weighty, which surely will put off some individuals. Your experience may differ, but it’s difficult not to suggest this Spanish thriller to lovers of the genre.
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