For a while now, everything collapses. The world ends and we with these hairs. Basically, this is the thesis of The Collapse , the certainty that everything hard, everything we believed to be irrefutable and eternal vanishes. Suddenly. From the state of well-being to the crown of the crown, the sensation of gradual degradation that was previously part of life and that gave meaning to time (and even death) has been replaced by the imminence of what, after barely trembling a second, it explodes. The worst omens are no longer such, they are facts. Now it only remains to contemplate, even if only for a moment in front of the television, the calm that empties the beaches of water and that precedes the tsunami .

Filmin premieres these days the series by the collective Les Parasites (Jérémy Bernard, Guillaume Desjardins and Bastien Ughetto) which, like Baron noir , by Eric Benzekri, or Into the night, by Jason George, has made him suffocate, out of breath, his site and reason for being. If you blink, you're dead. The proposal, which is remarkably repeated in advertising, is simple: eight chapters of just under half an hour in length launched into the face of the viewer as the most resolute and brutal of the affront. Eight pure suicide pills prescribed in eight sequence shots. In one stroke and without lifting the pencil from the paper.

The series builds on something called collapsology , which is not so much a science as a chill: what if all the threats that feed on the apocalyptic discourses that invade us were suddenly made true? What if everything collapsed, even more, but forever? What if the planet sent us from erte, but with total reduction of oxygen and without SEPE to manage it? Each chapter takes place a few days after we stop having fuel, when food no longer reaches the Mercadona shelves, and the light goes out. It may be because the planet does not give up, because suddenly someone realizes that everything is too absurd to go on, or because it had to happen that a prophecy stopped being so to be simply news. The causes, as in the road of Cormac McCarthy , or in time Wolf, of Haneke , do not matter. What counts is the urgency, the imminence of the disaster.

Directors opt for the most spectacular and already recurring system. There is no assembly. The staging consists of conveying the feeling that there is no such staging. The collapse wants to be itself a collapse of all the most basic rules that determine what is generically called cinematographic language. It is only a virtuous artifice that, more than eliminating, hides the rules. Far from the pompous clarity of 1917 , Sam Mendes' war film also built with a single shot, now everything, as circumstances demand, is dirty. The chaos feeds each one of the scenes determined to embrace the viewer until turning him into one more character in the plot. And there the frenzy, the merit and, above all, the danger.

The chapters are not continued. They are related only by background noise. And there they appear the effort of the heroes, the selfishness of the desperate and the complete ruin of the human being. It is surprising, for its clarity, the one that takes place in a gas station (the second one) where the money is no longer worth. It exalts, for its construction in the form of a dying thriller , the one that takes place in a ship lost in the immensity of its impotence (the seventh). And it hurts, as close, the one who in a nursing home raises the question of who to let die when death becomes the only truly democratic good (the sixth). The result is, have no doubt, as prodigious as, let's face it, cheat. But who resists. The world ends and the hairdressers unopened.

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