Netflix’s new Spanish psychological horror film, Tin & Tina, is adapted from director Rubin Stein’s 2013 short film by the same name, and it makes for an exciting watch. The plot follows a couple, Lola and Adolfo, who decide to adopt a pair of twins, Tin and Tina, but soon find themselves dealing with a series of unusual problems because of their adopted kids.
The stress on the psychological is much greater here than on the horror elements, as the film mostly maintains a slow build-up to its drama. Overall, Tin & Tina is a surprisingly enjoyable watch as it becomes the tale of Lola’s twisted journey from disbelief to faith.
Tin and Tina are not evil, but the answer is more ambiguous than you think. These young children are aware of their actions, and this horror thriller is a commentary on the socialization of children raised under the banner of religion.
How does Lola save her baby?
After Lola prohibits the children from speaking of religion in the house, things seemingly return to normal. However, Loal becomes distant from the children, and they grow close to Adolof. Lola’s baby, a boy, is born, and the children like their new family member.
However, Tina and Tina want to baptize the baby, but Lola refuses. As a result, the children distract Adolfo and Lola and try to baptize the baby. Lola arrives in time and saves the baby but becomes enraged with the kids. Adolfo burns down their Bible, and they are returned to the convent.
We see Lola and Adolfo celebrate their son’s one-month anniversary. However, Lola laments giving up the kids and believes she is a lousy mother. Lola and Adolfo argue and return home due to the stormy weather.
After returning home, Adolfo tries to fix the television antenna but lightning strikes, and he is set on fire. Lola desperately tries to find her son while the house burns down, but the baby is missing from his crib. With no other option, Lola performs the trick of seeing God and begs him to return her baby. Soon after, Lola finds her baby in the crib and escapes the fire.
Ultimately, Lola saves her baby by finally giving in to the children’s faith in God. She believes Tin and Tina are behind her son’s disappearance and Adolfo’s death. However, she wakes up in the hospital and learns from the nun that the twins were in the convent all night.
The film ends with Lola accepting Tin and Tina as her children and is convinced of their innocence. Moreover, she believes that her son was returned to her by God’s miracle and becomes religious like Tin and Tina.
As a result, the ending implies that Tin and Tina wanted their parents to share their faith in God, and all their actions throughout the movie seem to be a cry for the same.
Are Tin and Tina Evil?
Tin and Tina are innocent and take the interpretation quite literally when reading the Bible.
The film’s ending reveals mystery over the true nature and motives. Tin and Tina have grown up at a convent, explaining their strong affinity for all things religious.
However, when Lola and Adolfo adopt them, the children struggle to view the outside world from the confines of their religious beliefs. Their actions quickly take an evil connotation when they cause the death of the family’s dog.
However, these actions are contrasted by their seemingly genuine care for their adoptive parents, including moments such as Tin praying to God for Lola to have her baby.
The film’s final act sees Adolfo dying in a fire, similar to how he burned down the Bible. Pedro also pays for bullying the children with his life. However, Lola and her baby are spared.
Moreover, the nun confirms that the twins never left the convent on the night Lola’s house was set on fire. Hence, it seems like the children’s misguided actions came from a genuine lack of understanding of how the real-world functions.
Nonetheless, the disturbing actions caused around them become increasingly inexplicable. The film ends with a verse from the Bible that underlines the innocence and holiness within children, seemingly confirming that Tin and Tina aren’t evil.
On the other hand, a significant clue about the twins’ motivation is provided in two crucial but subtly planted moments. When the twins try to show their love for Lola, they tie her to the bed and try to feed her and the baby. Lola threatens them with the thought of sin, but the kids remind her that religion is prohibited in the house. This seemingly throwaway moment of self-awareness suggests the children are entirely aware of the severity of their actions.
Secondly, another scene depicts Tin and Tina’s names scribbled on a wall as the house burns down, Adolfo dies, and Lola searches for her baby.
The inscription suggests the children were at the house and perpetrated the events. Ultimately, all the horrifying events in the climax can be attributed to the Act of God or the twins’ machinations, which seems to confirm Tin and Tina’s sinister nature.
However, therein lies the banality of the co-existence between religion and evil. Thus, the film encourages viewers to understand the relationship between children, religion, and their perception of good and evil instead of giving an outright confirmation of Tin and Tina’s true nature.
How does Adolfo die?
Adolfo dies from what appears to be a lightning strike during a thunderstorm. After returning the twins to the orphanage, the couple enjoys television when the set stops working. Adolfo leaves the room to check on the antenna (and yes, during the storm), but the lights come back on shortly after.
Lola hears Tin and Tina’s laughter and the baby crying, but lights and appliances turn off and on. Lola goes outside because she hears a noise and hears Adolfo screaming. He is holding onto the antenna and being electrocuted. (You’ll notice the way he has the antenna, it looks like a cross in flames).
Lola runs inside when Adolfo falls, hits the ground, and crawls toward the door. Lola goes to grab a blanket, but he comes inside the house, which then bursts into flames.
About Tin and Tina
Tin & Tina is a 2023 psychological thriller film with horror elements directed by Rubin Stein, which stars Milena Smit and Jaime Lorente alongside Carlos González Morollón and Anastasia Russo. It is an adaptation of the 2013 short film of the same name.
The plot is set in early-1980s Spain. It tracks the plight of Adolfo and Lola (the latter having endured an unwanted abortion plunging her into a crisis of faith), as well as Tin and Tina, two creepy orphan twin siblings educated under strict religious teachings in a convent, enduringly adopted by Adolfo and Lola.