elpais.com
Cuando Nadie Nos Ve": Urbizu's Holy Week Thriller
Director Enrique Urbizu's new thriller series, "Cuando nadie nos ve," premiering on Max, unfolds in Morón de la Frontera during Holy Week, intertwining a seppuku, a levitating religious procession, a missing soldier from a nearby US base, and local business dealings, creating a multi-layered mystery.
- What are the key plot points and central themes of "Cuando nadie nos ve", and how do they connect to broader societal issues in Spain?
- Cuando nadie nos ve", a new thriller series directed by Enrique Urbizu and airing on Max, premiered in 2024. The series is set in Morón de la Frontera during Semana Santa, incorporating a military base and a diverse cast, including Maribel Verdú. The plot involves a seppuku, a levitating religious procession, and a missing soldier, creating a multifaceted mystery.
- How does Urbizu's background and personal experiences influence his direction and storytelling in this series, especially given the involvement of the Guardia Civil?
- Urbizu's approach blends crime thriller elements with character-driven storytelling, focusing on the internal lives of the characters within a specific setting. The series explores multiple storylines, including a missing soldier, drug trafficking, a political campaign, and the olive and cattle industries, reflecting various aspects of Spanish society.
- What are the potential impacts of incorporating diverse elements like religious processions, military investigations, and local businesses into a thriller, and how might this affect its reception and interpretation?
- The series uses the unique setting of Morón de la Frontera during Holy Week to explore complex themes and unexpected connections, offering a fresh perspective on the thriller genre. Urbizu's experience and distinct narrative style, developed over 40 years, contribute to the series's overall cohesive and well-crafted presentation, creating a story that is both engaging and thought-provoking.
Cognitive Concepts
Framing Bias
The framing emphasizes Urbizu's artistic vision and process, portraying him as a skilled storyteller resisting modern trends. The headline and introduction highlight his career and unique approach to the project, potentially overshadowing other creative contributions.
Language Bias
Urbizu uses loaded language such as "idiotas" (idiots) when discussing those who value noise over substance in filmmaking. He also describes certain films as "a vergüenza" (a shame), expressing strong negative opinions. These expressions lack neutrality.
Bias by Omission
The interview focuses heavily on Enrique Urbizu's perspective and experiences, potentially omitting other relevant viewpoints on the series, such as those of the writers, actors, or producers. There is no discussion of audience reception or critical reviews, which could offer a broader understanding of the show's impact and success.
False Dichotomy
Urbizu presents a dichotomy between 'good' storytelling (his approach) and 'bad' storytelling (the noisy, algorithm-driven trends he criticizes). This oversimplifies the diverse landscape of filmmaking and audience preferences.
Gender Bias
The interview primarily focuses on Urbizu's perspective and experiences, with limited insights into the contributions of women involved in the project. While Maribel Verdú and Mariela Garriga are mentioned, their roles are described through Urbizu's lens, not their own perspective.
Sustainable Development Goals
The series explores the work of the Guardia Civil and a US military agent, showcasing their roles in maintaining peace, justice, and security. The investigation into a missing soldier and other crimes highlights the importance of strong institutions in addressing societal challenges.