You’re talking about Unbelievable and that is very good for almost all of the right reasons. The story of a rape victim who ends up being accused of inventing the fact by the police, and the investigation by two detectives in parallel is taking the widespread appreciation.
To purpose of the great work of Kaitlyn Dever and Toni Collette. On the always accented manifesto of Lisa Cholodenko. The sexual abuse, the vices institutionalized in the research, the various approximations of the victims of the recovery process and the differences of gender (and class) in the face of these same aspects.
I share all these compliments. Although in the specific case of Cholodenko costs me a little bit. I consider it a tremendous filmmaker, but the constant display of his point of view on how useless we are men (something with which I tend to agree, even more so in this case), it times out when it does not allow the characters to develop their potential in this regard, the case of detective Parker is notorious in its approach from the point of view of the director in the first episodes and the rest of the series, promptly at the end.
But I guess that is what happens to many people with Clint Eastwood, for example. As the guy has a political manifesto that has permeated his art, and disagree with the same, this tends to ignore or resist its merits. And I am grateful that despite my bias, here can see the huge merits of Mrs. Lisa. Perhaps because it is impossible to avoid it. My favorite episode of the series is the 3rd (she directed the first 3), where the frustration of the protagonists begin to have more edges than those of pure research. There is an accurate reading, beautiful and worrisome about the state of the society about the abuse and the gender factor in its evaluation, the suspicions, prejudices, and the rationale for them, the role of the people in the various branches of the power and the means of communication in the re-victimization, institutional failures, etc, All this was narrated with the surgical precision of a police, something for which, Cholodenko has shown to have, or a talent unused, most still if that approach goes into the construction of the protagonists. Address pure for the sake of the creation of the characters.
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But I want to go about the distribution of these compliments and appreciations. Because I think we’re running short on two edges specific:
The first is the third protagonist, the detective Karen Duvall, interpreteada by the dearest Merritt Wever (fans of Sorkin already have it on the radar for years). Complex character and exquisite. Empathetic with the victims, dedicated in his research (perhaps in counterpoint to Parker), frustrated by the scarcity of results, with a load christian Susannah Grant does not judge or preach, but allows you to filter each one of the spaces of the character (we’ll be back on that last name, never mind), the level at which we understand that was defined by this mixture of guilt, thirst for revenge, lust for justice and mercy for the weak that defines their faith. Wever gives all these nuances in the different moments in that fills the screen, in contrast with the performance pride of an actress accomplished in front of you. The duet with Toni Collete is wonderful, scenes are only a conversation in a car, without major advances in research, without the great revelations of their past, they are of a enjoyment of your elegance as soon see these days. If the series would concentrate only on your character, you can have up to another weight still.
And the second is Susannah Grant. You know, the Oscar nominated, BAFTA and Emmy Susannah Grant. The Winner of the WGA and the writer of that díscola iteration of Disney princess that was Pocahontas. Someone who came back after a series of missteps, and that in these last 3 years, he has explored the sexual abuse from their multiple social implications. His previous work, Confirmation, is about the same. But focuses on the complexity of the topic when the commitments will weigh in on the link racial and moral power.
In Unbelievable, Grant shun to stay in the pain of the victims. But this is an escape trick. To leave the spaces at the police investigation and apparently give the history of the victim’s recovery in a parallel complex and congested, transfers the frustration of the research process and brings to the forefront the profound loneliness of women in the society. It is not only the victims, even women strong and accompanied by men sympathetic and dedicated to their relationship in the intimacy, you are locked in the inability to communicate their fears and anger and the disappointment about the world in which they live is going to be installed in the viewer of a form inversely proportional to the success in your search.
There is No closure for easy on Unbelievable. There is no room for Parker, who must live with the certainty of having erred deeply, that he must question his methods in his career as a detective and biases that have led him to look with the eyes wrong a done anything on time, something that Grant manages to traspasarnos as spectators on that memorable last confrontation with Marie. Perhaps this questioning is the best reading of the series, and the most defining of the weight of narrative delivery. Nor is there a out simple for Marie, who decides to take the first opportunity of escape from a system that believes that he abandoned decades ago, because even though the system did its attempt to, in reality is broken makes a lot. There is none for the victims, that even though your abuser has been convicted, his / her absence and/or presence on the court shows how far we need to go. There is no room for heroines. Know that you have done well, have achieved a friendship, can look with some optimism on the basis of a job well done, but both will remain locked with his own demons, ones that increase when a serial rapist decides to explain their methods and give useful information to help future research, but prefer to be interviewed by a man, “because you do not feel comfortable with women”.
The second best miniseries of the year of Netflix. The first is of Ava DuVernay, one in which he also relates as a system fractured by within, perpetuated the injustice against his people.