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Unraveling the Shocking Truth Behind Delirium’s Game-Changing Finale!

BBG News

In the peaceful city of Bogotá during the early 1980s, professor Fernando Aguilar (Juan Pablo Raba) comes home from a brief journey to discover his wife Agustina Londoño (Estefanía Piñeres) in the throes of a psychotic episode. She’s holed up in a hotel room, confused and petrified, unable to clarify her experiences during his absence. There are no indications of physical harm or violence; instead, a chilling sense prevails that something within her has been fractured. Initially appearing as a psychiatric crisis, it gradually unfolds into a captivating investigation of family secrets, long-held silences, and the ambiguous boundary between insanity and recollection.

The storyline of “Delirium,” a psychological drama on Netflix, is based on the renowned novel “Delirio” by Colombian author Laura Restrepo. Starting July 18, this eight-episode series will delve into the chaotic political climate of Colombia. “Delirium” offers a unique blend of intimacy and grandeur, providing an unapologetic portrayal of mental health issues, societal hypocrisy, and the weight of our hidden traumas that we often choose to ignore.

Verónica Triana and Andrés Burgos, the showrunners, found that working on a period story provided a potent chance to examine the present. As they portrayed how mental illness was handled around 40 years ago, they created dramatic moments not only for the story but also to underscore progress and remaining strides. They explain to TIME that themes like trauma, mental illness, and family secrets have always resonated with our society. However, today, we’re starting to identify these illnesses, comprehend them, and seek help when necessary.

Let’s break down the major plot lines in Delirium.

Madness in the Londoño family

In the sixth episode of “Delirium”, Aguilar continues his frantic efforts to decipher the events surrounding his wife’s condition, hoping to provide her with assistance. Following a phone call from Agustina stating she wasn’t well, Sofia, Aguilar’s wife’s aunt, arrives on the scene. The story that Sofia shares encompasses generations of the Londoño family. Sofia is the sister of Eugenia, who was Aguilar’s wife’s mother, and they both grew up on the family estate. As kids, their father, Nicolás, started hearing peculiar noises and inquired if others heard them too. He described it as an old woman without teeth whispering into one ear while a chair being dragged down a corridor echoed in the other. His wife, Blanca, explained these sounds away as tinnitus—a ringing in the ears—but Nicolás was convinced there was more to it. As a pianist, he required silence for composing and contemplation, and found it only underwater.

The following day, Eugenia confided in her father that she too had heard the mysterious noises. casually, he responded: “At some point, we all will cease to exist and no longer hear any sound.” Soon after, Blanca, the daughters, and Abel – Nicolás’ piano apprentice and hidden lover – discovered his lifeless body in the farm’s lake. Faced with the tragedy, Blanca compelled her daughters to deceive, insisting their father had gone back to France. From that moment on, Eugenia developed an uncontrollable habit of lying, eventually losing grip on reality. “My father took his own life. We never spoke of it again. And as time passed, I came to understand the true nature of his relationship with Abel,” Sofía shared with Aguilar.

It’s implied that insanity is a family trait for the Londoño clan, as suggested by the term Delirium. In Episode 1’s flashback, young Agustina experiences her first period, and her mother cautions her to avoid men. “Be wary of those sensations below too,” Eugenia advises. “I don’t want you ending up like Aunt Ilse, my father’s sister.” Agustina inquires if she’s the aunt who went mad. Her mother confirms it: “Yes, she disobeyed her parents and constantly scratched herself in public. They had to restrain her and commit her to an asylum. Madness seems to originate from there. You don’t know what transpired within this family,” Eugenia hints, associating sexuality with mental instability.

As a movie enthusiast, I’d rephrase it this way: From my childhood, Agustina has been haunted by the sensation of bugs creeping on her skin that don’t exist in reality. Her brother, affectionately known as Bichi, was frequently physically abused by our father for expressing himself femininely. Agustina felt compelled to soothe his physical scars, and I can’t help but suspect that our family may carry a hidden, generational mental affliction. The series subtly hints at this without explicitly naming any diagnoses or disorders.

Midas’ criminal scheme

The narrative takes us back to when Agustina was still in school. At this time, her brother Joaco formed a friendship with Fredy Rodríguez, who went by Midas. This friendship blossomed after Midas secured a scholarship to the exclusive school that Joaco attended. As teenagers, Midas and Agustina found themselves drawn to each other romantically. However, Midas’ life took a dark turn when he became entangled with a drug trafficker, using his elite education to set up a drug-smuggling and money-laundering operation aimed at wealthy students. In his early adulthood, Midas approached Joaco’s father with an investment proposal, eventually becoming part of the same scheme along with other investors.

Difficulties occur when a shipment is confiscated in Florida. In spite of these obstacles, Midas encourages investors to persist, however, some associates begin to harbor doubts. A violent event transpires involving Araña, a wheelchair-bound partner, who ends the life of Jenny, a dancer and ally of Midas, by strangulation during an act intended to attract investments. In retaliation, Midas takes Araña’s life following a heated argument instigated by claims of deceit.

The story unfolds more as events progress, revealing that Midas and his long-time associate, Misterio (a trafficker who began collaborating with Midas in his youth), were attacked by the police. Tragically, Misterio was killed while Midas managed to flee. Subsequently, Joaco alerts Midas about Jorge, another collaborator, who has reported them to authorities, compelling Midas to seek refuge on the family farm. This criminal undertaking then begins to overlap with Agustina’s mental collapse.

What caused Agustina’s psychotic break?

At the conclusion of Episode 1, Aguilar arrives home after a journey with his kids to discover an empty house. Upon checking the answering machine, he discovers that Agustina is at Hotel Wellington, and in the background, she can be heard shouting, “He abandoned me, I hate him.” Prior to their trip, Aguilar had informed Agustina that he was going without her to strengthen his bond with his children from his past relationship with Marta. Initially, Agustina believed she would accompany them on this journey. The reason for Agustina’s emotional collapse is not fully explained until the final episode.

In a bid to understand things better, Agustina locates Aguilar at his ex-wife’s residence – the spot he retreated to when she requested him to depart during her psychotic breakdown. She shares with him the events that unfolded. Following Aguilar’s departure with the kids, Agustina immersed herself in painting a wall until her mother extended an invitation for a birthday bash at their family farm. Despite the strained relationship, Agustina attended. Therein, she eavesdropped on Eugenia discussing with Joaco about her discontentment over Midas’ presence at the gathering. However, Joaco stresses that they need Midas; the business is struggling without him. Moreover, he hints that Carlos, their brother named after their father, has returned seeking his due inheritance. Carlos had fled in his youth following physical abuse for being perceived as too feminine and resurfaced later upon their father’s demise.

At the festivities, Agustina stays near Midas as Joaco delivers a speech extolling their mother. However, he neglects to mention Carlos and addresses Agustina in a patronizing manner as “the dear girl.” Agustina breaks in, reminding everyone that it was Aunt Sofía who looked after them, while their mother was preoccupied with wine and medication. Their mother then presents Joaco’s girlfriend, Mariana, and expresses her desire for grandchildren. It is at this moment that Agustina discloses a past tragedy: she had conceived a child by Midas, but her mother coerced her into ending the pregnancy as he was deemed unacceptable.

In the subsequent stages of her marriage with Aguilar, she tragically lost another child. She criticizes Midas, who she claims is more of a criminal than an entrepreneur, for being financially sound but unsuitable as a father. Additionally, she alleges that her brother concealed their sibling, Carlos, due to his sexual orientation and regards Mariana as their mother’s last hope. The dispute concludes when Joaco tells his sister, “I’m grateful you never became a mother.” This comment triggers a psychotic episode for Augustina. She perceives insects on her body and in the party food, hears derisive voices, and believes everyone is ridiculing her. Midas escorts her to Hotel Wellington, but as he is evading authorities, he cannot stay himself, so he leaves a henchman to call Aguilar for her rescue.

How does Delirium end?

After discovering the truth, Agustina informs her husband that he can converse with Midas, who’s been secretly staying at his mother’s residence. Aguilar spots him veiled, exiting a market carrying fruits and vegetables. Suspecting he is being trailed, Midas turns and inquires about Agustina. Aguilar responds, “She’s feeling better today.” Midas feels relieved and asks if Aguilar requires anything. Aguilar declines. Midas then requests Aguilar to look after Agustina before vanishing.

Reflecting on my couch, I beam at Agustina, sharing a tender kiss that momentarily revives tranquility. Yet, in the recesses of my mind, I’m now aware: Agustina, though captivating, bears flaws—”imperfect”, as she confides in the final moments of the series.

Directors Julio Jorquera and Rafael Martinez guided the development of Agustina’s character. Julio emphasized that madness can’t be rehearsed, a statement that left the entire team, particularly Estefanía, feeling disoriented and confused, yet essential for this project. Their aim was to explore and be surprised during the process, which isn’t simple in an industry where both efficiency and content are highly valued. As they put it, ‘It wasn’t easy for her, but I think coming without a set plan allowed for the spontaneity we were seeking. Abandoning preconceived notions about madness and its portrayal was crucial for us all.’

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2025-07-19 00:10

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