The chords of Cassandra Wilson's "Deathletter" sound and cracks in our walls begin to fill with everything that could be and never materialized, of all the forgotten stories that over the years return to a state of continuous present. Nic Pizzolatto must have experienced something similar because the third season of & # 39;True Detective", of as many temporary lines as it handles, it seems like a strange adventure has lived in the voluminous hands of its copyright, back to the roots of his family tree. In other words, HBO has given the green light to a project that, after having gone through thousands of houses, shouting "Shame!" for his second season he returned to the formula that marked him on the map: esoteric mystery with a multitude of narrative layers, tormented characters, overwhelming photography, a decadent atmosphere and a narrative rhythm that, although you do not know why, avoid taking off your couch at all costs. In eCartelera we have been able to see the first five chapters, and the only thing we can emphasize (without fear of making mistakes) a thousand times is that Pizzolato, sinfully comfortable, grabs us by the lapels to tell us that his thriller talent is far from to leave .
This last season, starring Mahershala Ali and told four times, delves into the mystery of two police officers examining the disappearance of two brothers to talk about love, the limits of police imagination and the reformulation of excitement in times of compulsory consumption. In this sense, what makes the third season of "True Detective" is to defend pause as a narrative method that works at full capacity, completely lubricated, noting that some of its ingredients, well-complemented, can generate a variety of branches that convert to fiction in a constant tension exercise, even in moments of rhetorical dialogue and postponed reflection. The time slot, so important and so ignored by routine, is the existential glue Pizzolato uses to cast his own story. Somehow, lto HBO fiction returns to obscurantism in its first season, sometimes too much emphasizes that time is a double-edged sword. In the midst of such a plot dimension, Pizzolato sets us a story that is not only a thriller but also astonishing the imagination of turning the police tension into a product where fear has its share of the cake.
Time as argument and narrative method
Continue with caution, take the time to build idiosyncrasies of characters that grow up, remember themselves in the worst moments of your life, pray to the Saints who took them out of the tragedy, Grab his memory to decipher a mystery that, like time, seems insoluble. If something liked the first season, it was the feeling of living in the episode of morbid. Not only were we impressed with Cary Fukunaga's flat sequence and Matthew McConaughey's dalliances, but also the opportunity to experience the most thrilling thriller of satanic rituals and emotional deprivations that have long been born of television. Pizzolato readapt stories like the project "The Witch of Blair" to delve into the psychology of some characters who were the perfect reflection of a whole universe obscurantist and desolate in the middle of the Midwest. In this case, the macabre crime occurs in the Ozarks region, which spans for decades. Wayne Hays and Roland West come across a mystery that obviously challenged, greatly embracing the search motif of this new season: time. Whether as flashback or flashforward, the series falls into its own trap, and sometimes we do not know very well how they have affected specific decisions to their characters. therefore, that Alias character seems to remember that time with more fear than nostalgia does not mean that Pizzolato radiographs him, but that he uses this resource as a method so that history is not hindered by the degree of degrades he submits.
It is not understood otherwise that inspector Hays tells with speech transitions that should fall by their own weight. But if we talk about how the author plays with the atmosphere to catch us, the case radically changes. & # 39; True Detective & # 39; is a bomb with such a large number of detonators that it is mostly dedicated to explaining what is behind it all. This can be encouraging in the first place when we just climb the surface of a story that returns to its roots and restores the dark elements to a better cause. When we just want the most scary of the water. But when we know what rolls those who look at our eyes through the screen, it is certainly cold to discover that it is not an enlightening resource, but decisions that gradually darken our characters and temporarily manipulate the various lines. In any case, this confusion, the outcome of the expectations and having seen only the first five chapters, should not be the final roadmap in this story. In that case, We wanted to face a third season tailored to the keys to television success in our times (love, death and reality, three points with a suicide triangle) to end up in the same place as its predecessor.
The best: The ironic distance morbid of such a cruel story is enjoyed by.
The worst: Some explanations that would have been better to let them float in pictures.