'Anti-riot', the Spanish series of the year: hosts, instructions for use

Ethology, or part of it, maintains that man, like the hippopotamus or the howler monkey,

Blame it on Darwin.

Let's say aggressiveness is a phylogenetically adaptive factor.

In other words, it is an impulse for survival that we always have in '

' and that must be continually appeased.

And hence the need for the rules of civility, the greeting, the caresses, the smile without coming to mind ... Call them appeasement behaviors.

But what happens when things get out of hand and there is no way to stop the demands of evolutionary theory?

Indeed, here, the riot control, those of a lifetime.

Rodrigo Sorogoyen

, with the complicity of his head scriptwriter

, and the enthusiastic and very brilliant collaboration of seven actors violently in the vein (

) have decided to give faces, eyes, motivations and even family to the eternally bad.

The idea is to portray in its almost hormonal clarity that impulse that ethologists talk about and that affects us all.

That the word body is used to designate them as a group cannot be by chance.

Movistar's 'Antidisturbios' series presented at the

and delivered in six convenient one-hour installments gives voice to those who are always caricatures;

to that brigade by special force of the police without a face, with the face always hidden behind the helmet.

"That is what attracted us, the challenge of working against precisely

and the challenge of making a series that someone could boast of men and testosterone (although later it is not like that) in the days of MeToo. They asked: 'But are you going to dare to put them right?' Well, so good or so bad where each one puts the limit of their responsibility. They are part of this society, "the director and screenwriter chorus commented.

The series adjusts perfectly to the demands of cinema as understood by the director of

' and '

.

Not so much from '

'.

Once again, the camera struggles to cancel the blind spot, the hidden, and runs nervous, agile and organic between the bodies and the body.

And so on until composing a precise mobile photo of which the viewer ends up being part.

If you look at them all at once, which is always an option, you can clearly see the evolution of a staging that starts a few millimeters from their faces and ends up much more aware of themselves and their surroundings.

In the metaphor goes the sense.

Let's say that the journey towards the revelation that the characters live is the same one that Sorogoyen proposes in

Peña says that the idea was to avoid the easy tricks of the series to use (let's say the famous

recurring

'

' or the reiteration of situations).

"When you write in '

' for the big screen, the plot forces many times to eliminate the details of the characters.

says.

For Sorogoyen, the difference between one universe and another, cinema and television, is one of structure or development.

But the first impulse, which is the one that counts, does not change.

"The approach is identical and, in fact, the priority is always to provoke the viewer by making him part of the plot and showing him what is generally in the shadows," he explains.

'

' starts in an eviction with an accidental death, which in reality is not so much.

Few are.

They are almost always the consequence of something that does not work.

From there, the plot forks over and over again until it traces both the temporary corruptions of the system

as well as its structural deficiencies.

And furthermore, the doubts reach the very basic error that conditions everything: Does the very conception of a police always exposed and converted almost by definition into a public and perennial image of pure violence make sense?

What you see is controversial because reality is.

"All the unions function regularly: journalists, health

, scriptwriters ... And the one in riot control as well.

says Peña.

Sorogoyen explains all the previous work of conversations and coexistence with the agents and, among everything that has been said, he does not hesitate to find some of them who served as models.

"One of the policemen we met, a good guy, was the one who gave the key to one of the phrases in the series. The one in which Arévalo's character explains his motivation to do what he does: feel useful. But there is everything. There are those who seek adrenaline because they have just come out of a divorce or those who like the idea of ​​traveling ...

do

, says the director.

And that is precisely what it is about: to get a little scared with the conclusions.

As it did in '

', reality nurtures each frame until it directly infects them all.

The capacity of the series to place the viewer's gaze within the labyrinth of intrigue ends up approaching not so much the state of hypnosis as that of dependency.

In the end, we have no choice but to deal with the fact that we are aggressive monkeys and that everything depends on the need to channel, attenuate and manage the violence that consumes us and determines us.

According to the criteria of The Trust Project

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