There is something about Mario Casas's performances that squeaks me. It is as if each of its characters could enter and exit from one movie to another without differentiating it. The good thing, however, is that in those profiles of constant symmetry the good of Mario remains at a level of great intensity for noir-like performances. And precisely this Innocent covering the novel of Harlan coben, suits him perfectly so that the disturbing Mat guides us to the dark side.
Putting the punch on the main actor of this series, I have to say that I think it is a great series that maintains the tension and that can hook you to the point of losing midnight with that eagerness to «come on, one more chapter and I'll leave it ... »And that the jump between the first and the second chapter is somewhat radical, as if you had made a mistake when selecting that new chapter, as if the Netflix people had run out of steam and were streaming two consecutive episodes of a series different.
But it is to appear Alexandra Jimenez (Lorena) out there with her gaze that crosses the camera and give an immediate vote of confidence to the matter. Although, if it is to touch the balls a little with details, the wig that Lorena from the Chinese bazaar is fitted with, at times it can confuse you ...
And after the second chapter, divergent but necessary to link the plot from the two branches around Mateo and Lorena, we are entering a wheel of emotions where each character is presented as the victim on duty. Because life hurts, wears out, changes and even torture depending on which underworlds you have to live or what random hells you have to go through ...
Women trying to get out of prostitution; a powerful father, a great surgeon to say the least (great Gonzalo de Castro), with a contained hatred that can lead to anything; Scantily clad nuns who alternate Masses with profane parishes ... Thus ends the convent, full of haircloths with which to appease guilt and secrets.
We add, of course, corruption and black money, trafficking of white women and unimaginable abuses for depraved white-collar minds. A tinderbox made a plot as an anthology of amorality.
Researchers from a UDE who never really know what they are looking for. Something like the CIA when they seem to fuel the criminal to end up reaching other spheres of greater crime. A José Coronado shamelessly in charge of covering up the miseries of judges or politicians or anyone else who has participated in the rugged wild side of the world.
You don't know where everything is going to break. But the matter points to unexpected twists. Because we continue to add betrayals while the lives of Lorena and Mateo are presented to us with their due flashbacks so that we can connect the dots or at least try. Around the two of them, the rest of the characters in the series also shine with that light typical of performances perfectly pasted with scenography and characterization of psychological profiles in a world full of tribulations, sorrows and guilt ...
But there are no two fundamental characters without a third in contention that is placed at their height. That is the case of Olivia, Mat's girlfriend, with an also essential role on which that sordid aspect of pimping with foothills never imagined pivots and which underpins the turns to come. Because the plan that Olivia devises to get out of her life entails vital ruptures like earthquakes that will end up replicating in a future completely irreconcilable with the stormy past.
And yes, everything explodes with the precision of a takedown. Only when the building falls and among the rubble we discover our protagonists more or less alive, there is still the final explosion, the one that remains as an echo resounding in our consciousness ...