The Spirit of the Beehive

After watching Frankenstein, Ana is deeply affected by the scene where the monster plays with a little girl and then accidentally kills her. Her older sister Isabel tells her the monster didn't really kill the girl and isn't dead, he exists as a spirit that Ana can communicate with if she closes her eyes and calls to him. This explanation, meant to comfort Ana, blurs the line between film and reality for the vulnerable child.

Isabel's playful lie plants the seed for Ana's obsession with finding the monster in the sheepfold.

Ana discovers the wounded soldier hiding in the sheepfold she believes is the monster's house. Rather than fearing him, she sees an opportunity to connect with the "spirit" she believes lives there. Her innocence and gullibility, combined with the emotional void left by her emotionally distant parents, drive her to bring him food, her father's coat, and pocket watch. She treats him as she imagines the gentle monster from the film would be treated.

The scene mirrors the moment in Frankenstein where the monster shows kindness to a child.

When the police investigate the stolen items (the coat and watch) found with the dead soldier, Fernando produces the pocket watch and asks the children about it. Ana's anxious reaction immediately betrays her involvement, she cannot hide her guilt. Her father notices her distinctive response and deduces she was the one who aided the fugitive.

Fernando has already observed Ana's unusual behavior and emotional state throughout the film.

Francoist police track the soldier to the sheepfold where he's hiding and shoot him on sight. The authorities later suspect the family of aiding him because the stolen coat and watch link to Fernando. The soldier is killed, leaving only blood stains on the ground that Ana discovers when she returns.

The film's post-Civil War setting establishes the constant threat of violence and suspicion in the village.

When Fernando confronts Ana with the truth about her involvement, the reality of the situation crashes down on her. She's already witnessed the soldier's death and the blood at the sheepfold. The confrontation shatters her fantasy world, the soldier she believed was connected to the monster is dead, and now her family knows her secret. Overwhelmed, she flees into the night.

This mirrors the climactic scene in Frankenstein where the creature is chased by villagers.

The film deliberately leaves this ambiguous, as it has throughout. When Ana kneels by the lake at night, the monster appears and kneels beside her, this could be a hallucination born from trauma and fantasy, or a magical realist moment where her belief creates reality. The film never confirms whether the monster physically exists or exists solely in Ana's traumatized mind.

The scene mirrors the pivotal moment in Frankenstein where the monster encounters the little girl by the water.

After witnessing the soldier's death, being confronted by her father, and experiencing the terrifying search, Ana has experienced profound trauma. Rather than healing, she chooses to retreat into the fantasy world Isabel created for her. She stands silently by the window, calling to the spirit, preferring the safety of her imagination over the confusing, painful reality of her family and postwar world.

Isabel's initial explanation that the monster is a spirit Ana can call to foreshadows this final ritual.

Isabel tells Ana this to comfort her younger sister after the disturbing Frankenstein screening, explaining that everything in films is fake. However, Isabel also enjoys testing Ana's gullibility and playing on her innocence. The lie is meant to be harmless but ultimately has devastating consequences, Ana takes it literally and searches for the monster, ultimately discovering a real person in danger.

Isabel's playful manipulation of Ana runs throughout the film and sets the tragedy in motion.

The 1940 setting places the story in Francoist Spain immediately after the Civil War ended with the Republican defeat. This context creates an atmosphere of fear, suspicion, and trauma that permeates the family and village. The wounded Republican soldier represents the hidden wounds of the war that the regime is actively suppressing. The setting also explains why the police are so quick to search for fugitives and why helping a Republican is a dangerous secret.

The isolated, tense village atmosphere reflects the broader political climate of postwar Spain.

At six years old, Ana is impressionsable and emotionally vulnerable. The film's scene where the monster gently interacts with a little girl before accidentally killing her troubles her deeply, she cannot understand why something that seems kind would cause harm. Her sheltered life in an emotionally distant family (her mother daydreams about distant lovers, her father is absorbed in beehives) leaves her seeking meaning and connection, which she finds in the monster's story.

The mobile cinema screening sets the entire narrative in motion.