Every time a new chapter of TorTV3 announced on the screen: Leaders in black history. It is not exactly a genre that is very meritorious on public television, but Carles Porta’s new series has managed to raise the true crime which until now represented crimes. Tor it has not ended up being what it seemed at the beginning. We imagined a murder investigation, and in the end, the dead man seemed like the excuse to tell another, much more amazing story. The series has become a repertoire of disturbing and fringe characters. Tor it has become a mountain full of mysteries beyond the disputes between neighbors over the ownership of the territory. And Carles Porta, more than a narrator, has played the role of an emblematic protagonist, and the rest of the characters seemed to need him to make their legend bigger, as if that gave meaning to their lives.
Sign up for the newsletter Series All premieres and other pearls
Sign up for it
The big disappointment (which could already be seen coming) has been that after the eternal question of who killed Sansa we have been left without an answer. Not even a hint. Nor a position of the highest expert. The crime has served to expose a grotesque and unprecedented catalog of suspects. Never had so many marginal characters appeared in a TV3 space, in a kind of festival halfway between morbidness and comedy. They have been introduced to us all gradually, in one crescendo crazy Tor it’s ours Tiger King from Netflix, a series that looked like a documentary about tigers in captivity and ended up becoming a showcase freak with all the characters confronted.
The lunch scene in a restaurant with the first acquitted defendants, Marli Pinto and Josep Mont, accompanied by some supposed Portuguese cousins, all drunk and with erratic speech, where Porta himself admitted to having drunk too much, was truth tv. A limit experiment in public television. There were moments when Porta seemed to hand over the reins of the recording to the characters to see where they took him. The hippies of the mountain have become a surprising treatise on human survival where the viewer could check the past and present of each individual. Everything that was sordid, it was also hypnotic and provocative. But all of this would have been quite unsustainable without a more ambitious audiovisual story to consolidate the entire narrative: the setting, the musical editing, the audacity in the editing, the use of symbolism or the use of models and miniatures to enhance the emotional climate they have demonstrated a cinematographic requirement.
In the magnificent interview that Albert Om gave to Carles Porta after the last chapter, he was surprised that the journalist revealed that more than one witness had admitted to him that he had killed Sansa. It is incomprehensible that these confessions have not been included in the series with the necessary context. Om didn’t do an interview to flatter him, but to convey aspects that have raised questions for the viewer. He asked for the feeling of this never-ending story, for the fact of appropriating it in the first person and for the lack of a criminal resolution. Porta’s excuse that the public must act as a popular jury is weak: in a trial there is an accused and Tor they make us choose the culprit, having to play a kind of rural Cluedo without a final solution.
Mònica Planas Callol is a journalist and television critic
2024-06-18 19:30:10
#hell #killed #Sansa
