BTN News: The interplay between art and storytelling finds a captivating new form in “Vuelo de brujas,” a unique audio project from Cadena SER that breathes new life into classic and obscure literary masterpieces. This project, named after one of Francisco de Goya’s most enigmatic paintings, delves into the realm of mystery and the supernatural, offering listeners an immersive experience that blends the eerie allure of radio theater with the intellectual rigor of literary exploration. Helmed by Fernando Navarro, a seasoned writer and screenwriter with a penchant for the fantastical, “Vuelo de brujas” is not just another podcast series; it’s a journey into the unsettling, the thought-provoking, and the mysteriously captivating.
Each week, Navarro reinvents a masterpiece of mystery literature, choosing stories that resonate more with unease and psychological tension than with outright horror. This deliberate choice to focus on “unsettling tales” rather than traditional horror aligns with the series’ goal of pushing the boundaries of how we engage with and interpret classic literature. The project has already explored tales like “Where Their Fire Is Not Quenched” by British writer May Sinclair, a favorite of a young Borges, and “The Lottery” by American author Shirley Jackson, reimagined in a Spanish village setting. These episodes, available on platforms like Podium Podcast and SER Podcast, air in the late-night hours from Sunday to Monday, creating an ideal atmosphere for the eerie content.
Navarro’s approach to these adaptations is as bold as it is unconventional. Rather than sticking strictly to the original narratives, “Vuelo de brujas” often takes just the premise or even the mere essence of a story and spins it into something new, yet hauntingly familiar. This is evident in the third episode, which aired on August 5th, where Navarro adapted “The Hell Screen” by Japanese author Ryunosuke Akutagawa. Akutagawa, although not primarily known for horror, crafted stories rich in moral complexity and dark themes, making his work an ideal candidate for Navarro’s series. “Vuelo de brujas” reimagines Akutagawa’s tale as an audio guide in a museum, voiced by Alba Flores, where a seemingly straightforward narration slowly morphs into a disturbing and immersive experience.
One of the standout aspects of “Vuelo de brujas” is its innovative use of format. By avoiding traditional narration, the series employs techniques like “found footage” to engage the listener in a more interactive and suspenseful way. These audio episodes often take the form of intercepted recordings, voicemail messages, or even simulated radio programs, requiring listeners to piece together the narrative themselves. This method not only heightens the sense of mystery but also invites the audience to become active participants in the storytelling process. Navarro explains that this choice is deliberate, as it forces the listener to engage with the material on a deeper level, filling in the gaps with their imagination, thereby intensifying the suspense.
“Vuelo de brujas” also places a strong emphasis on creating terror from the ordinary, a concept that Navarro developed from his own experiences growing up with television programs that weren’t afraid to mix darkness with the mundane. He cites influences like “Alucine” and “Noche de lobos,” as well as childhood movies that unexpectedly veered into dark territory, such as the death of Atreyu’s horse in “The NeverEnding Story” and the gremlin’s dual nature in “Gremlins.” These examples highlight Navarro’s belief that the most effective horror comes not from overt scares, but from the unsettling feeling that something is not quite right in an otherwise normal world.
The project is not just a series of adaptations but a multifaceted audio experience that begins with a brief introduction contextualizing the original work. Navarro engages in conversations with literary editors and explains the creative process behind each adaptation, offering listeners a glimpse into the mind of a writer who thrives on bending genres and playing with expectations. After the fictionalized audio performance, the episodes typically conclude with a discussion featuring the actors involved in the recording, providing insights into the craft of voice acting and the nuances of translating a story from text to sound. The roster of talent includes well-known figures like Luis Tosar, Alexandra Jiménez, and Ricardo Gómez, as well as the involvement of director Paco Plaza, with whom Navarro co-wrote the horror film “Verónica.”
The upcoming final episode of the season is particularly noteworthy, as it features Cristina Fernández Cubas, the 2023 National Literature Award winner, reading one of her own stories. This episode promises to be a fitting capstone to a series that has consistently challenged the boundaries of traditional audio storytelling, blending literary adaptation with elements of performance art to create something truly original and unforgettable.
In “Vuelo de brujas,” Fernando Navarro has crafted a project that transcends the typical podcast format, creating a rich, layered experience that is as intellectually stimulating as it is viscerally unsettling. By drawing on a wide range of literary sources and employing innovative audio techniques, the series stands as a testament to the enduring power of storytelling in all its forms, inviting listeners to confront their fears, question reality, and, ultimately, embrace the unknown.
