Tin & Tina

Lola, who is pregnant, marries Adolfo, the man she believes is the father. The ceremony takes place in early 1980s Spain, with Lola hoping the marriage will stabilize her future. The wedding marks the start of their life together, despite the looming uncertainty.

During the wedding, Lola suffers a miscarriage and learns she cannot have children. The loss sends her into a deep depression and reframes her view of the marriage. Adolfo's reaction to the news becomes a turning point for their relationship.

Adolfo persuades Lola to adopt children from the nearby convent orphanage. They end up adopting Tin and Tina, two older twins with albinism who show a gift for music. Lola and Adolfo decide to present themselves as religious to please the children.

Tin and Tina display musical talent and unusually strong religious beliefs that unsettle Lola. Despite not being religious themselves, Lola and Adolfo pretend to be devout to keep the twins happy. The illusion creates a tense undercurrent in their household.

The twins' religious games grow increasingly disturbing and sometimes lethal. Lola's dog bites her, and the twins kill the dog to 'cleanse its soul' without understanding that life ends for good. The act foreshadows the deadly stakes of their play with faith and control.

During the twins' first communion, a classmate who bullied them falls into a coma. Lola suspects the twins' involvement, but Adolfo refuses to acknowledge the danger. The incident further strains Lola's trust in the family.

New Year's Eve arrives, and Lola faints, only to discover she is pregnant again. The news frightens Lola and widens the emotional distance between her and the twins. Adolfo's calm acceptance contrasts sharply with Lola's escalating anxiety.

The twins become overjoyed at the prospect of a new baby, while Lola grows distant and wary of their influence. She fears what the twins' beliefs may unleash on her family. The household tension mounts as the pregnancy progresses.

Lola goes into labor and gives birth to a baby while the twins plot to baptize him. The scene marks a collision between Lola's parental autonomy and the twins' extreme religiosity. Lola refuses the baptism plan, fearing for the baby's safety.

The twins attempt to baptize the baby themselves and nearly drown him in their zeal. In response, Adolfo burns the twins' Bible in a gesture of rebellion against their control. The home becomes a place of fear and volatile religious fervor.

Tin and Tina are sent back to the convent, and the couple's marriage deteriorates under the strain. Lola questions whether staying married is still right. The distance between them signals a possible end to their union.

A house fire consumes their home, burning Adolfo to death and causing Lola to lose her baby. Lola fights to survive and to salvage any chance for the future. The tragedy exposes the profound danger the twins have posed.

Lola awakens in a hospital and is visited by the head of the convent, who tells her that Adolfo died by lightning and that she and the baby survived, a miracle. The head asserts that the children were at the convent all night, maintaining their innocence. Lola begins to question the truth she has been told.

Lola attends Adolfo's funeral and, despite everything, decides to adopt Tin and Tina again. The ending implies the twins remain part of her life, now under her care again. The saga closes with Lola facing an uncertain future with her adopted children.