The Girl in the Mirror Ending Explained: Does Alma’s Soul Get Back in Her Body? What Has Alma Told Us Deep Down? Alma Ending Explained

The Girl in the Mirror a great stories of supernatural mysteries always hide a much more mundane metaphor. Worldly does not mean superficial, but rather the opposite. She means that she is here, in your reality, in your present, in your life, in your body. Or closer to you even than your own body. This is the case with The Girl in the Mirror, the new Netflix series created by Sergio G. Sánchez (screenwriter of The Orphanage and The Impossible and director of The Secret of Marrowbone) and starring, in what way, Mireia Oriol. We understand that you just finished it and you want to collate doubts, some existential ones, the coolest ones, with this article. So we sign a spoiler acceptance agreement and go to the mess. On the thread on the red thread.

The Girl in the Mirror aka Alma Ending Explained: Does Alma’s Soul Get Back in Her Body?

Let’s say there are two endings: three quarters of the last chapter closes the story of Alma, Lara, and Deva (Claudia Roset). And the last quarter is more of a beginning. In that first ending, Deva-in-the-body-of-a-Soul (if you like, we’ll call her Deva-A) decides to run away with Nico (Milena Smith), but first, she sends her mother the video that proves she was abused by a couple of this. It’s something that she advanced in chapter 6 when she first sees him before remembering who she was. Return to action: Although it is an ellipsis, we understand that the ‘stepfather’ repelled his girlfriend’s knife-wielding attack and discovered that it was The Girl in the Mirror (rather who he thinks it is The Girl in the Mirror) who sent the video, so he is going to for her.

And he chokes her with her hands. In those moments between life and death, Alma’s spirit arrives through one of the portals through which Aurora (Elena Irureta) guides her. Deva’s spirit leaves her body so Alma can retrieve it. And it is that spirit that pushes her abusive stepfather out the window Caput. Deva apologizes to The Girl in the Mirror and at that moment Lara’s spirit appears to accompany Deva to the afterlife, which was her mission on the day of the bus accident. She somehow wants to return her favor: Deva helped Lara to fulfill her will to die and now it is Lara who helps Deva in that trance. Between the two they help The Girl in the Mirror’s spirit to return to her body and say goodbye forever.

After that scene we see a kind of epilogue with the farewell of Alma and Tom (Álex Villazán), we analyze that later, and with two more scenes that open the door to the second season of the series. In the first, Aurora hands over The Girl in the Mirror as a guide to wandering souls seeking their way back to their bodies or theories: “I have waited centuries for this moment. Now you will help others as I have helped you, are you ready?” Yes, she looks like she is.

In the second, it is revealed that the plan of the shadows to invade five bodies to invoke the demon Therieum and that it possesses the body of Martín (Javier Morgade) had not failed. Martin’s father and sister thought that the indicated date was the third (III) moon of the year 2021, but no. It was the sixth (VI). What changes a stick? After realizing this mistake, they see that their animal totems have been stolen to summon the devil and that they have inadvertently fulfilled the prophecy: “A member of his own family will send him to meet the five shadows.” Indeed, it is Diana (María Caballero) who has sent Martín to meet Bruno (Pol Monen). That he was possessed by a shadow after killing his grandfather. Next to him, the other four bodies were occupied by shadows: Laura (one of the students in a coma), Roque, her sister and Nico, who had been kidnapped by both. In the last second of the series, Therieum awakens from his slumber.

What Has The Girl in the Mirror Told Us Deep Down?

How I long to get to this moment. The supernatural wrapper is an attractive and well-assembled puzzle, but it would be little more than an artifact if it didn’t cover, why look for another word, the ‘soul’ of the series? That cannot be summed up in one sentence. The story of Alma, Lara and Deva is a labyrinth of mirrors from which you can come out with a great life lesson if you do this exercise: imagine that they are three parts of the identity of the same person. A person crossed by a very harsh drama, by a great tragedy. Alma would be the essence of that person, who he was, or who he thought he was before that happened. Lara would be that person going through the drama (in this case, terminal cancer), looking for answers to insoluble questions, charged with fear of pain, goodbyes, and death, crossed by a feeling of injustice but also by love for everything that will leave behind. And Deva would be that person consumed by rage and helplessness (they have abused her and they don’t believe her), by the feeling of guilt and her emotional uprooting.

The story of Sergio G. Sánchez poses a painful rupture of these three forces and then beautiful stitching of all of them. In a poetic and allegorical way, he is portraying a grieving process. How you are, or rather who you are, before, during and after the loss. The special thing about his vision is that it shows how the rupture, the emptiness and the subsequent reconstruction take place, making these three parts communicate with each other. It is not a simple proposal of “you’re fine, then you suffer and then you get over it”, but rather weaves together that personal journey with ideas that, perhaps not very scientific, but intimately you can recognize as brilliantly true: when a very tough situation causes you to break, not only break your ‘I’ that is going through that moment, but it transfigures who you were and who you will be. Somehow, the only possible way is for the person you were before all that to take on the pain, look at it head-on, suffer it, suffer it a lot, and for that to make her change. Before, during and after.

Not to lose sight of the series, Alma can only recover her body when Deva reconciles with her actions and accepts that her path is to leave with Lara. But it is that Lara only assumes her destiny in peace when she finds Alma’s spirit as a guide. In our scheme, the way out of the darkest well of grief or trauma can only be found if you force the ‘innocent’ person you were to get into it and let it be that person you were, but transformed, who I hold out my hand to you It is a head-busting paradox, but if you look at this plot with your heart more than with your brain, sensations suddenly light up that yes, perhaps they are transcendental, but they can also guide you on that common path that challenges us all to look for meaning in what does not have it. Or maybe yes.