It is not necessary for the story to contain ground-breaking events or outrageous disclosures in order to be a good suspense drama. In a thriller, we frequently position a mastermind-type figure at the forefront who has all the answers, is always one step ahead of everyone else, and develops the blueprint for a plan that, when it comes to fruition in the climax, fills you with awe and deference. There isn’t really a big battle, though. The truth is not as glorified as it is depicted. The reality is merely a question of perception and is never sufficiently confirmed to be made clear in nature. In real life, not all questions are answered, and sometimes the truth is hidden somewhere that objectivity cannot reach.
The film 42 Days of Darkness, which was created by Gaspar Antillo and Claudia Huaiquimilla, is a conflict of narratives. It resides in that ambiguous space where judgements are impacted by subjectivity rather than being simply right or wrong. The success of the screenplay by Rodrigo Fluxa and Claudia Huaiquimilla lies in the fact that as you read the story, your view and presumptions will also alter. Exceptionally captivating and genuine character journeys that prevent complexity and biasness, making them more humanistic, are the only thing to blame. When these individuals clash, the tug-of-war that ensues causes the case to become clogged as they each present their own interpretations of the truth is unsupported by sufficient evidence in a court of law. When one person’s testimony contradicts another, the testimony’s reliability will depend on the whole picture, which is as murky as a foggy winter morning in the absence of any damning proof.
Mario Medina and Veronica Montes had two kids together, Kari and Emi. Karen left for school on June 29th, 2010, but when she got there, her mother was gone. She assumed that someone had broken into the property, taken her mother hostage, based on the state of the house. She contacted her aunt Cecilia, who resided in the neighbouring home, and they both told Mario about the missing person. Mario went to the police department and reported a kidnapping. Due to the rarity of serious crimes in the area, chief officer Toledo was a little taken aback. The story of the kidnapping quickly circulated across the wealthy neighbourhood of Altos Del Lago. The legal community and the media people began to show an interest in the events. Victor Pizarro, a lawyer who was likely going through his worst career period, regarded this case as a way to reclaim his lost dignity. He was aware that he could serve as the family’s legal representative. Due to malpractice, he was denied the right to practise law, and although the prohibition was lifted, he had trouble getting back on his feet. The man has endured a lifetime of professional anxiety. He wished to erase the stain on his reputation. He got in touch with his two buddies, who frequently assisted him in solving crimes. Braulio had his claws firmly planted in the bureaucratic structure and knew how to extract information, whereas Nora had a thorough understanding of the criminal justice system and its complexities. Pizarro was in need of his two reliable warriors. They board the ship, and the three of them immediately begin looking into the unexpected and pointless departure of Veronica.
Cecilia Montes, Veronica’s sister, consents to appoint Victor Pizarro as her legal representative and expresses her concerns about Mario, whom she believed to be complicit in the kidnapping. Since Mario was a quiet man and had adopted a submissive attitude, the public began to doubt the veracity of his statement, which already had many inconsistencies. Toledo’s inquiry was being hampered by Mario’s lawyer, who Mario had retained, who was also interjecting Cecilia’s allegations. The family became embroiled in an internal conflict as a result, with both groups levelling accusations against one another.
Emi was too young to appreciate the situation’s gravity, but Karen found herself in a pickle. She wasn’t sure whose version of events to accept. Her aunt was accusing her father, but given the close relationship she had with him as his daughter, she found it difficult to do so. Even though she was aware that her parents’ relationship wasn’t the best, she didn’t think the situation was dire enough for her father to make such a big change. Because of how she had treated her mother in the days leading up to her kidnapping, she also carried some guilt with her.
Mario said that he had received a call from the abductors. They appeared to have called from a cybercaf, and with the proprietor of the caf’s help, a sketch of the offender was created. The investigation was still going nowhere, despite the public release of the sketch and the announcement of a reward for any useful information. Both Mario and Veronica were later shown to have had extramarital affairs, but neither of their respective partners supported the idea that Mario could have done something similar. It was only reasonable for everyone to incline toward Cecilia’s concerns given her elevated concerns and the lack of any malicious purpose and incriminating evidence. When a husband learned that his wife was having an extramarital affair, he decided to take matters into his own hands because he was sick and tired of dealing with her.
In these situations, media trials are also crucial, and it doesn’t take much to paint someone in a negative light. Media outlets frequently mislead the general population, who are uninformed of the facts but accept the hoax because it fits the pattern, by fabricating conspiracy theories based on stereotypes and prejudices. But it was unclear whether Cecilia’s worries were legitimate or were simply being taken seriously because there wasn’t a compelling alternative idea.
The atmosphere can significantly improve any narrative’s mood. The effect of 42 Days of Darkness’ horrifying discoveries is only increased by the atmosphere, which is gloomy and solemn. What the show excels at is putting its characters in a position where their wisdom is at odds with their own desires, biases, and prejudices. The plot of the movie never examines the complexities of bureaucracy or the corrupt system; instead, it rises to a crescendo through the perceptions and convictions of its flawed individuals. It’s a conflict of narratives without any solid evidence, where the only weapons are one’s perception and intuition, and that’s what makes it so powerful and alluring. 42 Days of Darkness is a powerful and genuine journey thanks to the characters’ frustration, weaknesses, ambitions, resistance, and sadness. It is possible to build an universe that is devoid of stereotypes and resembles David Fincher’s through the intricate details of interpersonal connections, rich characterizations, and potent performances. Perhaps you won’t learn the truth as you are used to learning it, but you will undoubtedly begin to doubt the very fabric that forces you to choose sides and blinds you to what you don’t want to see.
See More: 42 Days Of Darkness Ending, Explained: What Had Happened To Veronica Montes? Is She Alive?
