In this age of algorithms that decide for us, Isabel Coixet He has written and directed (until the camera has, as is his custom) the series that comes out of his nose, a romantic story between two characters that carry their genes, although they intersect thanks to an application. The risk of inbreeding exists, but no one will get hurt, unlike in the British The accident.
HBO It has given Coixet so much freedom that the only danger is that this immersion in the director's worlds will lead to a too perfect version of herself, such as when a chocolate lover encounters a tablet so pure that she would prefer to lower the percentage of bitterness From day 4 you can try it.
Foodie love It is a tasting menu, a gastronomic orgy full of cultural references, a mirror in which its creator reflects her feelings and fantasies. With someone so intelligent at the controls, getting on that plane offers an exciting journey, as long as the viewer does not suffer from vertigo to romanticism. In the first chapters, their lovers have the strength from where the food enters, knowing Coixet that the phase of seduction is a thousand times more interesting than that of settlement, although then give his personal touch to the bodily culmination of his dreams .
Its eight episodes are very different. Some rub the experimental, but it will not scare those who have embarked on the adventure. Sometimes, the actors also speak to the camera, in a more discreet way than in Fleabag, but the tone is more similar, especially in the Italian chapter, to the Rome that we already tasted in Master of none, with the great contribution of the ice cream philosopher.
Coixet is guessed in phrases and details of his characters, starting with the girl who spies on the couple in the cafe and fills in the blanks with scriptwriter assumptions. The set is a polyglot and traveled series of people who alternate Michelin stars with food brought on two wheels and a saddle. Some will seem pedantic; his characters have it all, except self-confidence. The nonsense of lovers, wonderful or stupid, also reminds of the romanticism of Modern love, with its neuros of the very first world, treated like the crucial matters that really are.
Laia Costa and Guillermo Pfening they find the tone and give themselves to their mission, wrapped in a soundtrack no less crucial, in a story that enters through the senses. Because listening, as she says, "is the sexiest thing someone can do to someone else."
Two Tuesdays ago, this Channel 4 miniseries became the best premiere in Filmin's history. Jack thorne, co-writer of the excellent The virtues, recounts the consequences of an urban tragedy in a town in Wales. The event reminds the Aberfan drama that relate in The crown, quoted expressly, in fact.
The accident is the conjunction of several unique talents. Thorne's join the director's Sandra Goldbacher (Victory) and those of two fabulous actresses: Sarah Lancashire (Happy valley) and Sidse Babett Knudsen (Borgen). The rest of the cast has a British efficiency, always contained. Even the script is actually a "softened" version of a worse catastrophe, as it is inspired by the fire of the Grenfell Tower in London, in which 72 people died.
The essential character is the one played by Sarah Lancashire, a hairdresser more good than the world and her miserable husband deserve, a fictional Erin Brockovich and yet more authentic than that interpreted with great success by Julia Roberts. The tone of this story is interesting and less film. More coral, too. He stops in sick relationships and in the problems of conscience of his characters. In four chapters that jump over time, he reflects on love and loyalty as he broadens the perspective to encompass beyond the mere accident. In the end, the viewer understands that until the worst people almost always have a soul, what can not be said of all companies.
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