Netflix’s legal thriller of Netflix

The final sign of the arrival of the television as a film art form can be the increasing obsession with the environment for the uninterrupted stomach of a single photo, which has been the long part of the vision of the authors on the large screen.

A six -minute pursuit was, along with the presence of Matthew McConaughey, prestigious call book for the first season True detective. Looks as different as received as Bear and Monsters: The story of Lyle and Erik Menendez And they generated the maximum noise in whole episodes presented in a continuous approach. Jeon Woo-Sung’s Korean Thriller Business He raised the bar further, telling -and the story in six episodes, each shooting to sow at least with an orer.

In the -the second episode of Apple’s future Hollywood satire studioProperly entitled “The Oner”, Seth Rogen Studio Exec says of a very technical ambitious blow, “Oner is the final cinematic achievement. It is like the perfect marriage of art and technicality. ”

He responds to Ike Barinholtz’s sal, who claims: “The public does not care about this shit.”

Could be tempting to follow Sal’s leadership and review the new Legal Netflix thriller Adolescence With a mention of his basic conception, which is that each of his four episodes is filmed in a continuous takeover by director Philip Barantini and the cinema Matthew Lewis.

Sure, the rear production process Adolescence It is impressive – if not “unique” – and occasionally amazing, but if the aesthetics had raised the narrative, the resulting series would have been high than a waterfall.

Fortunately, chamber works completely complete a plot with an uneasy contemporary resonance, as well as human characters, exceptionally performed well Stephen GrahamAshley Walters, Erin Doherty and a spectacular new income Owen Cooper.

The series begins with British detectives of Bascombe (Walters) and Frank (Faye Marsay), leading an auditory attack on Miller Household, arrested Jamie (Cooper), 13 years old, for murder while his parents (Graham and Christine Tremarco) and the older sister (Amélie Pease) are watching.

In the first episode, the camera follows the attack, the journey to the (fortunately) police premises and the earliest interrogations, while the public and the Miller family learn the nature of Jamie, who constantly protests his innocence.

Subsequent episodes jump before and then weeks and months, to first cover the investigation of Bascombe and Frank, while trying to talk to other students from Jamie’s school; then the pre-process period as Jamie is evaluated by a psychologist (doherty); And then the life of the Miller family. As structured by Graham creators and Jack Thorne, Adolescence It retains the tragic circumstances in the foreground, rather than any protagonist or antagonist. Only Graham’s Eddie appears in more than two episodes (Jamie is heard in a third), but each episode offers a completely realized arc and a different effect generated by the unique method (which Barantini used Boiling point)

In the first episode, Barantini builds oppressive and evasive suspense, which makes the public eager for explanations and mirrors the frustration of the Miller family. Instead of placing a happy cut, allowing viewers to relieve arrest when presenting samples and accusations, Barantini takes us through the procedural elements caused by Jamie-fingertips, discomfort of invasive tests, the banality of an institutional breakfast of corn.

In the second episode, Barantini conjuncts the cacophony that sometimes hides the truth, while the detectives make their way up and on the halls, stairs and classrooms of a school, meeting dozens of students and teachers, even accompanying a chaotic fire. It is easily the most beautiful of the four episodes and the one that attracted my most common attention to the repetition and orchestra that entered it.

The third episode is a two-handed, with Cooper and Doherty, heading in a mind playing with an increased conversation with moments of anger, vulnerability and horror, contained mainly in a single room, with none of the mechanical mastery required by the previous episode. (Given how big they were together in the recent Hulu A thousand strokesIt is very easily disappointing that Doherty and Graham do not share scenes here together.)

Then, the series ends with an emotional roller-coaster, in which the minimum maximums and values ​​of a birthday obtain a remarkable volatility and versatility in Tremarco, Pease and especially Graham, which has never been better.

Over time, room works are bold, but more in reflection than in terms of visceral pyrotechnics. Only the second episode contains moments that seem to be increased by visual effects (and I’m not even sure of that); The series is not awakened in the way of whips and masked cuts that the public was trained to wait with a single -shot trick. I preferred a lot to marvel at the choreography and consistency of the shows – what Doherty and Cooper are eliminated in that third hour is amazing if you take a break to consider the necessary training and psychological resistance – rather than the usual “How would this be removed?” Gawking.

The mystery of what Jamie has done or did not do is relevant, but secondary to the greater questions about masculinity-it is toxic or fragile-in a world of bullying, revenge porn and virtual harmful role models, such as Andrew Tate. The crime nightmare is lost a little in the more perverse nightmare of adolescence. The series is less empathetic to the victim or the situation of adolescent girls – although this is a reflection of society’s indifference. The pain of that indifference is surprised by a short turn of Fatima Bojang, extremely fierce and wounded, as the best friend of the victim, who clearly does not receive the attention or help she deserves.

Even more than the technical trick, it is largely due to the fact that it acts as Bojang, that The Resolutly Dark, Downbeat Adolescence is able to avoid feeling like an prolonged episode of Law and order: Unit of special victims.