In this order: Elena Irureta, Ane Gabarain, the rest of the actresses from
Patria
and then the actors.
All at the highest level, watch out.
In the end, the HBO series has been so good.
Could it have been resolved with one or two fewer episodes?
Yes, but a week or two without a
homeland
... not that.
It smelled like series of the year and, as the 2020 vintage is being so good, it will have to compete with others.
Blessed that competition.
Bittori, the character of Irureta, is the heart of the series
and as such, the protagonist of its closure.
It is the end of the novel, seen instead of read:
there is the image that we all expected
, determined by a tonal decision of those responsible for the series that, without any complex, list it towards sobriety, even bitterness.
Others would have gone for something mellifluous and dangerously self-indulgent.
Why not give those ladies some sunny and musical hope?
But Aitor Gabilondo (screenwriter and creator) and Óscar Pedraza, director of
Mañana de domingo
, the series' epilogue, do not risk betraying, even if only a little, the substance of their history.
What is our History.
But above all
Patria
is the story of two mothers who walk recognizable and muddy roads
: Miren defending a son to grotesque extremes and Bittori balancing his determination and his fragility.
The compositions of Ane Gabarain and Elena Irureta are flawless and exciting.
And a draw: Ane defends an extremely repulsive character, something very ungrateful, and Elena defends a kind but equally dry woman.
Loving Bittori, widowhood aside, is not so easy.
Although she is the good one of the film (sorry: the series, the series) and that helps.
It also puts up obstacles: Bittori is not a saint either.
Let them ask their children, almost tired of dealing with a
mistress
who confuses bitterness and righteousness.
In the latest episode of
Patria, there is
a familiar scene that breaks the heart:
seeing Bittori happy is sadder than witnessing her despair when her husband is shot in cold blood by an ETA gunman.
A scene to which the series returns over and over again, in a non-redundant underlining exercise: the novel by Fernando Aramburu and brought to television by Aitor Gabilondo is
the story of a good man murdered and the unreason surrounding crimes such as his, not a chronicle of the contradictions of the divided Euskadi.
The naked and tortured ETA member of the series' promos that generated so much controversy is, effectively, a simple footnote.
A parenthesis that we must not forget.
Nor give him a role that does not correspond to him in the story.
And in History.
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