The Criminal Life of Archibaldo de la Cruz

No, the governess was killed by a stray bullet during the Mexican Revolution, not by the music box. However, Archibaldo convinces himself the box has supernatural powers because her death occurred shortly after he wound it. This becomes the foundational belief that drives his entire fantasy of being a killer with mystical control over death.

The governess warns that the box can kill enemies, setting up Archibaldo's later belief that he caused her death.

The film leaves this ambiguous. When Archibaldo threatens the nun with a straight razor, she flees and falls down an open elevator shaft. While he believes he caused her death through his 'power,' the judge later notes no crime has been proven. The incident mirrors his delusion about the governess, deaths occur around him, and he attributes them to his will.

His childhood belief that he killed the governess emboldens him to threaten the nun.

Patricia was trying to manipulate jealousy from her lover Willy Corduran. After arguing with Willy at the gambling parlor and being followed by Archibaldo, she went to his house and provoked a confrontation. The next day, she apparently took her own life, though the exact circumstances remain unclear. Archibaldo's obsession with becoming a killer may have influenced her desperation, but she was primarily driven by her own tumultuous relationship.

Patricia admits she was trying to make Willy jealous when she went to Archibaldo's house.

No. Despite his elaborate fantasies and meticulous plans to murder women, every intended killing fails or happens through other means. The governess dies from a stray bullet, the nun falls accidentally, Patricia commits suicide, and Carlota is killed by Alejandro. The judge explicitly states Archibaldo has committed no provable crime, only has the 'capacity' to become a criminal.

His childhood 'success' with the governess is revealed as coincidence.

Carlota was involved in a relationship with Alejandro, who was married to another woman. When Archibaldo begins courting Carlota, Alejandro becomes his rival. On the wedding day, Alejandro summons Archibaldo to his apartment, where Carlota visits him. Later, after the ceremony, Alejandro shoots and kills Carlota, fulfilling Archibaldo's dark fantasy, though he did not pull the trigger himself.

The tension between Alejandro and Archibaldo over Carlota runs throughout the film.

The mannequin represents Lavinia to Archibaldo, an object of desire he cannot control. When Lavinia tricks him by swapping places with the mannequin and then humiliates him by keeping the mannequin's expensive clothes while stripping off her own, Archibaldo's obsession turns to rage. Melting the mannequin symbolizes his attempt to destroy the object of his failed desire and exert some form of control over his romantic failures.

Lavinia's mannequin trick enrages Archibaldo and exposes his inability to possess her.

The judge concludes that while Archibaldo possesses the psychological capacity to become a criminal, a man obsessed with killing women, no actual crime can be legally proven against him. This creates dark irony: despite his confessed intentions and the deaths surrounding him, the law cannot touch him. It underscores the film's themes about the gap between murderous fantasy and criminal reality.

The entire confession has been leading toward this judgment on Archibaldo's character.

After the judge's verdict, Archibaldo returns home and plays the music box one final time before stopping it and discarding it into a lake. This act symbolizes his rejection of the delusional power he believed the box granted him. By releasing both the box and his belief in his supernatural ability to cause death, he achieves a moment of relief and potential freedom from his murderous obsessions.

The box has haunted him since childhood, representing his false sense of lethal power.

In the final scene, Archibaldo encounters Lavinia by chance and learns she did not marry as she had planned. They walk away together into an uncertain future. The ending is deliberately ambiguous, it could represent genuine connection, the continuation of their manipulative dynamic, or simply two lonely people finding temporary companionship. It leaves open whether Archibaldo's obsession with murder has truly ended or merely shifted forms.

Lavinia previously left to pursue other plans, suggesting her feelings remain unsettled.

The film uses a framed narrative with Archibaldo recounting events to a nun and judge, making his reliability questionable. His confessions about killing the governess and nun are likely fantasy, he believes he has supernatural powers but the evidence suggests coincidence. The judge explicitly doubts his claims. The narrative blurs the line between his delusions and reality, making it impossible to确定 what actually happened versus what he imagined.

The framing device establishes from the start that this is Archibaldo's version of events.

When Archibaldo watches Carlota enter Alejandro's apartment and sees the blinds close, he imagines shooting Carlota on their wedding night. However, this fantasy is subverted when Alejandro actually shoots and kills Carlota after the ceremony, Archibaldo's murderous thoughts manifest through another person, continuing the film's pattern of his plans failing while deaths still occur around him.

This fantasy reveals Archibaldo's continued obsession with killing the woman he cannot have.