Return to the Bakalao route "I've been to weddings with more dogas"
HBO Max Don't watch 'Industry', it doesn't matter anyway
Netflix 'The autopsy', the best series of the week: sometimes an episode changes everything
The creators of
La ruta
did not live the world they recount in their series and it shows.
Borja Soler and Roberto Martín Maiztegui were children when Valencia became Spain's disco mecca.
His series is therefore that of two outside observers.
And you can see it.
For good
.
Soler, Martín Maiztegui and Clara Botas have written an amazing series.
The Route
will disconcert both those who are now as old as its protagonists (twenties) and those who, belonging to two generations ago, do not need directions
to get to the Spook
.
We also don't need to be told what ACTV and NOD mean.
But that's not important.
The Route
is something else because
The Route
is many things.
The new premium series from Atresmedia joins a very healthy trend:
young creators rereading the recent past without falling into myth or judgment
.
The Javis did it with
Veneno
and now
La Ruta
is doing it, turning a very specific moment in Spain into a portrait of characters.
The short stories in the series make up an inevitably incomplete but at the same time soberly accurate picture of a country that entrusted everything to a magical year (1992) and continued to adore Mario Conde.
A country with
a dark gray past
relatively recent and an uncertain future and no longer as hopeful as in the previous decade, those 80s that also deserve an exercise in demystification and analysis by fictions other than
Cuéntame como paso
.
Precisely from that other series comes Ricardo Gómez, one of the protagonists of
La Ruta
.
The actor left behind the boy Carlitos from the TVE classic a long time ago, but those
347 (347!) episodes weigh heavily
.
That is why his presence in La Ruta
works as a meta-commentary
.
Gómez goes from the 80s of
Cuéntame
to the 90s of
La Ruta
and it is impossible not to see there an intention to appeal to the viewer and tell them that there were Spains in which Antonio Alcántara did not paint anything.
The cast of La Ruta is completed by Àlex Monner, Elisabet Casanovas, the future superstar (time to time) Claudia Salas and a Sonia Almarcha who from
El buen patrón
we do not lose track of.
She is Carmen, the mother of Marc (Monner), a DJ whom she calls what a woman of her generation called DJs back then: DJs.
Marc's musical, professional and vital adventure is one of the stories that, through
courageous leaps in time
, form the backbone of
La Ruta
.
Because not only is the music in the series syncopated and hypnotic, but also the way he manipulates the times.
Contrast that narrative audacity (very risky because it can mislead) with an aesthetic bet that could seem dirty and ugly and is not.
If we see it like this, it is because the benevolent mechanisms of memory have embellished those years, those (dance) floors and those parking lots by merging them with our longed-for youth.
We all remember our 20s with a smile, even though pain, loss and vertigo hide behind it.
That is
The Route.
That and so much more.
According to the criteria of The Trust Project
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