Why “Perdida”, the most popular new Spanish series on Netflix, is very worthwhile
This article was written after watching the entire season of “Lost”, but only contains details from the first episode.
In the remarkable and very entertaining “Lost” series of Antena 3 now available on Netflix, even zenith planes shot with drones from above work; a craze from which every Spanish series ( «Unity», «Neboa» or «Presumed culprit», to name three recent thrillers ) has been infected to demonstrate the parne or, at least, seem more expensive. There are times when the repetitive use of the same perspective deactivates its purpose (to increase the sense of action?), But in the creation of the writers Natxo Lopez,Ruth García and David Oliva always works that bird’s-eye view because their main setting, the gray but also colorful Bogota (Colombia), lends itself to it and because, for their characters, what is happening to them is a matter of life and death. The constant soundtrack, by Julio De La Rosa (“The minimum island”), and the short duration of each scene also do not give the viewer a break and increase that feeling of restlessness and race against the clock.
So it is not surprising that, since joining the platform on June 5, it was placed last week among the ten most popular series in Spain; no matter what that means due to the opacity of the audiences, but worse proposals ( «Toy boy» ) have done it before.
Great feeling of the story about any decent policeman
Of course, the premise and the first episode of peliculas “Lost” can be a double-edged sword: it will appeal to those who enjoy any decent policeman about a disappearance or murder (“Malaka”, from TVE, is another excellent alternative ) but it will on notice to those who do not usually reach the outcome because the enigma is stretched with multiple false clues. The Atresmedia and Big Bang Media production does resort to the “missing / dead girl” (here girl) stereotype to get the action rolling, but it leaves that garden at the end of the first episode with a revelation that reconfigures the story told during the 45s. previous minutes.
Two time lines and two main stages (Bogota present, Valencia last), seems a priori a basic tale of revenge: Daniel Grao, given lately to corrupt characters, is Antonio, a poor devil who hunt at the airport as a mule more that he intends to take drugs from Colombia; However, his disinterest in saving his skin responds to another plan: to enter the La Modelo prison, where Cruz ( Juan Carlos Messier ) is imprisoned, the man who kidnapped his daughter many years ago in Spain.
Obligatory string of diverse characters
The history in prison, with its obligatory string of diverse characters (the corrupt official, the loyal cellmate, the evil bug that makes the cross to the newcomer) and conflicts (rival gangs, mutinies, escape plans) is the most part formulaica and, even so, it has vibrant moments like the one that happens, later, in the morgue. Antonio’s arrest also works to introduce his public defender, the Mexican Angelita ( Adriana Paz ), who has his own. She and her quick but effective introduction to action (swimming), dialogue (“No, Daddy, you are not a fagot “) and reggaeton are the first revelation of episode one; that the series dedicates enough minutes to Angelita’s day to day has its reason, revealed little by little.
Because «Lost» is, like every thriller, a messy puzzle in which each installment (maximum 50 minutes each: great) is delivered to the viewer with some pieces; but here the constant twists of the script are always anchored in the past and the motivations of each and every one of its characters (protagonists, secondary and episodic, victims and executioners), who are closely related to each other. It is a capricious choice on the part of the writers (the viewer tends to go a step ahead of the character, with some exceptions), but it is justified for the sake of entertainment.
And although “Perdida” seems like a narcoseries by and for uncles-uncles with a villain to match, Quitombo ( Fernando Solorzano ), the series is being discovered as a set of stories about different women who had and have to make difficult decisions in their lives: there is Antonio’s ex-wife, Inma ( Carolina Lapausa ); the Spanish police in charge of the kidnapping case, Eva ( Melani Olivares ); a Colombian soap opera actress, Milena ( Ana Maria Orozco ); and the missing girl, now of age, Soledad ( Veronica Velasquez ). To put a snag: it is the plot of Olivares, in current Valencia, the one with the least hook but still contributes toLeitmotif of the eleven episodes: the multitude of ways in which corruption emerges within the system itself and in each individual out of delight, out of “necessity” (to be a mother at all costs, for example) or out of pure survival.