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The relationship between movies and series has often been abrupt and sloppy.

But, on occasions, film and television have dialogued in ways that are as interesting as they are fruitful.

, the new series by

, is the latest great example of how the two media can collaborate to achieve excellent results.

And it is that 20 years after

, Bellocchio

.

The story of Moro's kidnapping and murder clearly haunts the Italian director.

On the other hand, the filmmaker is fully aware of what a series offers that a movie does not: time.

As much as we have gotten (bad) used to spending more than three hours at a time in a cinema, only some

dare to take their footage beyond 200 minutes.

With very few (and usually leaden) exceptions, the shortest series almost always lasts longer than the longest movie.

.

The number of plots and, above all, of characters that fit in a serial narrative is infinitely greater than that allowed by the densest film.

The fact that Marco Bellocchio has decided to expand his magnificent

into the also sublime

makes all the sense in the world.

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The six episodes of the series, available on Filmin, can be seen in one sitting, giving rise to the temptation to say that "it's not a series, it's an episodic movie."

Don't do it.

respects the format to which it is attached.

and, although Bellochio wants to express a global concept through them, he takes advantage of the chopping to change perspective, person, ideas and conflicts.

The Italian chaos, which

, funny cliché and sad reality, is very well described through a panoply of contradictory and nuanced characters, absolutely necessary to tell the story of the conservative politician to whom a historic agreement with the communists cost him dearly.

The Moro case, one of the most important political crimes in history, has given rise to countless books, articles and films.

Now he also has a series that, in his

, explains and expands the story and questions its myths.

Years ago, Olivier Assayas discovered that it was not a good idea to turn his wonderful

into a theatrical footage film.

What on TV was absorbing and special, in the movies was pasty and poor.

His 2022

recognized the error, bursting at the seams the universe that he himself had set out in his 1996 film.

is a series about a movie about another movie and it is perfect.

Assayas, this time, he knew where to shoot.

In

Marco Bellocchio does something similar, and joins

in the series of the year lists.

According to the criteria of The Trust Project

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