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See you in another life, review of the Disney + series (2024)

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See you in another life, review of the Disney + series (2024)

“It seemed to us that it is a story that must be told from fiction, because of the characters, because of the number of times it could have been avoided, and because it is all so shabby and so botched, that we thought we had to make a series.” The story that Jorge and Alberto Sánchez-Cabezudo refer to is 11-M and, specifically, the so-called “Asturian plot”, which they tell in their new series. “See you in another life” is based on the book “See you in this life or the next” by Manuel Jabois, which recounts this journalist’s conversations with Gabriel Montoya Vidal “Baby”, the first person convicted of the attacks… and who at that time was just sixteen years old.

The brothers, responsible for “Crematorium”, they had been after the rights to the book for some time and, when they finally got them, it took them little to convince Disney+. After “Balenciaga”we can say that the platform points ways in national fiction, something that we did not see coming when they were released with things like “The last” o “The Invisible Girl” and they resort again to a union of talents in management (“Balenciaga” It was signed by Garaño, Arregi and Goenaga). This is completed in script with people like Roberto Martín Maiztegui, Pablo and Daniel Remón and Guillermo Chapa, and with Borja Soler (responsible for the excellent “The route”) taking charge of the third episode.

Another luxury name is in charge of the soundtrack: Olivier Arson, whom we know for his magnificent contributions to the films of Rodrigo Sorogoyen. Already in “The kingdom” His music fit like a glove with Sorogoyen’s vibrant narration, and here he knows how to play that role of thriller from a more cautious role, in line with the way in which the series alternates this with the social and family drama that is told. An example of how well this combines is that, when it comes to highlighting the best moments of the series, we can talk about scenes like the backpacks in the supermarket, which makes your hair stand on end without saying anything, with everyday life under the that the horror can be hidden, but we can also talk about Baby’s moments with her mother, or Baby as a baby in the town, showing realities that, unfortunately, are also everyday life for too many people.

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The distribution is key in this, of course. Pol López is the owner and lord of the show from the first time he appears, marking what is (for now) the role of his life as Emilio Suárez Trashorras, but Tamara Casellas is also tremendous (who was already by far the best of “The left-handed son”) and, of course, the revelation Roberto Gutiérrez, who was approached in a McDonalds as part of a street casting. Those responsible for the series say that Gutiérrez, helped by coach María Cantuel, was already saying on the third day of filming “Sorry boss, I’m just on the technical side, but what you want is the emotion, right?” And no, I had never been on a shoot.

The boy manages to give tenderness, fear and anger in the different moments of the plot and, in fact, I would say that this voice-over is unnecessary, especially when we already have an adult version that fulfills that function, again with an interpreter as good as Quim Ávila is – from whose mouth comes “I regret what happened, not what I did,” but whose eyes say that what he did do haunt him. The rest of the cast also meets growths, featuring Javier Eirda, Juanma Cifuentes, Ignacio Becerril, Mourad Ouani, Jaime Zatarain and Manuela Paso.

“See you in another life” shows the way forward for Disney+ in its Spanish originals, and paves the way for other productions to deal with an episode in our History that the national industry is reluctant to explore.

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