Debut filmmaker Macu Machín’s Spanish-language documentary, “The Undergrowth,” chronicles three elderly sisters from the Canary Islands, Carmen, Elsa and Maura, coming together to divide their inheritance. The film, which had its U.S. premiere at True/False Film Fest on Friday, Feb. 28, is a poignant and intimate depiction of the three sisters’ relationship as tensions emerge between them.

The framing is an integral part of this depiction. During many interactions between the sisters, the film chooses to focus on the sister who isn’t part of the conversation. These shots are up close and personal, showing microexpressions and details in the sisters’ faces.

This cinematography reveals more about their relationships by showing how they react to each other, especially since there is little dialogue in the movie. The most striking instance of this framing is when Carmen and Elsa argue about Maura’s worsening physical condition, and Elsa accuses Carmen of not helping enough. In the middle of the fight, the focus switches to Maura as she lies in bed with a melancholy look on her face. 

Despite the more tense moments between the sisters, the film does an excellent job of showing the lighter moments between the sisters. There are a lot of humorous scenes interspersed throughout the documentary.

Right after the argument between Carmen and Elsa, the film cuts to the three siblings playing dress up. Maura dons three straw hats, and Carmen puts swimming fins on her feet. They laugh hysterically as their outfits get more outrageous. In a moment towards the end of the movie, Carmen and Elsa lie down outside together and quip on how they look like corpses. We also see the sisters play with their cats, which brings out a young, playful energy from them.

The sisters’ relationship is the heart of the film, and these moments are powerful in showing the deep sisterly bond they have with each other. By the end of the film, Elsa and Maura head back home as Carmen stays back. Right before they leave, Carmen helps Maura pack and stand up from her bed. It’s a subtle but emotional moment of growth for Carmen after Elsa’s accusation of not helping enough.

Outside of the main plot, Machín effectively captures natural sounds and picturesque images of the land. One of the first shots of the film is brush burning. The camera zooms in on the flame as its roars get louder and louder until they turn into the sounds of a rainstorm. These storms are a common occurrence throughout, which frequently rumble the house and even cause the lights to go out. 

When the sisters harvest the land’s almond orchards, the sound of almonds falling from the trees sounds like rain. Each captured moment of nature brings viewers into the setting. It also leads to a sense of mysticism in the land, making the film that much more intriguing. 

Nature becomes a character in itself. It reflects and responds to the sisters as much as they interact with it. After Carmen and Elsa’s fight, which is the most heated point of the movie, a volcano erupts with a boom. It’s a jarring moment, and it seems to represent the tensions boiling over with the sisters. The eruption lurks in the background for the rest of the film: through the house’s windows, in the car and behind the almond orchards. This camerawork is stunning and captivating.

When Elsa and Maura leave, it’s never revealed exactly how the sisters’ inheritance was divided. But by the end, Machín makes it clear that the inheritance is irrelevant. The sisters’ relationship is the story. Through thick and thin, “The Undergrowth” masterfully shows their nuanced and tender connection.

Moviegoers have one last chance to experience this must-see film at True/False Film Fest on Sunday, March 2 at 12:30 p.m. at Ragtag Cinema.

You can keep up with The Maneater’s 2025 True/False Film Fest coverage here.  

Edited by Mikalah Owens | mowens@themaneater.com 

Copy edited by Emma Short | eshort@themaneater.com

Edited by Emily Skidmore | eskidmore@themaneater.com