Rosario Iturzaeta

Rosario Iturzaeta is Amaia’s mother and a figure whose physical presence revives Amaia’s deeply rooted fear. These scenes show her first being sought out by Amaia, then walking after recent immobilization, and finally relinquishing a knife when she looks at a baby.

Identity and Immediate Circumstances

When Amaia asks where Rosario is and says she wants to see her, another speaker confirms that she means her mother. The exchange makes their relationship explicit while leaving the reason for the requested visit unstated.

Rosario has been immobilized in the preceding days, but now walks unaided, stiffly yet steadily. Beneath her down jacket, her legs appear unusually pale; her slippers drag along the floor with barely any lift. Her return to movement is striking enough to unsettle Amaia’s long-held mental image of her.

Fear and Recognition

Rosario’s dragging slippers recall similar oversized slippers worn by Engrasi, and Amaia wonders whether the fit explains the way Rosario walks. The association makes an ordinary detail carry the weight of family memory: Rosario is not only someone Amaia is seeing now, but a presence filtered through years of fear.

As Amaia watches her mother, that fear becomes immediate again. She experiences a physical shudder, struggles to swallow, and realizes she has been holding her breath. The scene presents the past not as a settled recollection but as something that can return through Rosario’s appearance and movement.

Threat and Reversal

In a later confrontation, Rosario threatens to shoot those who do not move away from the child. She has a knife beside her, but when she looks at the baby, her face contracts and the air leaves her lungs in a groan. She sets the knife down and opens the baby’s diaper, then leans on a doctor’s offered hand to rise. The abrupt change from armed threat to a distressed response marks a decisive interruption in her aggression; the fragment does not explain what she sees or what follows.

Elsewhere, Flora tells Amaia that she will eat the little fox. The threat adds another disturbing echo to the family scenes, but the available passage does not establish its target or connect it directly to Rosario’s actions.