‘Adolescence’ of Netflix is ​​prodigious and one of the series of the year

Two police officers have a conversation in the car, in the boot of adolescence. They wait for the execution of an operation.

He has a conversation by phone with his son, who pretends to be sick not to have to go to school. When the time comes, they leave the vehicle to force the home. It’s six in the morning and residents, a marriage and their teenage children, they do not understand what happens: why they have to bend down and put their hands up. The operation has an order: arrest the main suspect from a murder that has just taken place in the town. The alleged murderer, hearing the uproar, goes on top of the pajamas he is wearing. He is a thirteen -year -old boy. They allow you to change. On the way to the police station, the detainee has an accelerated course on the police process that awaits him, what are his rights and how, being less, he has the right to be interrogated accompanied by his father. And, in the interrogation room, that father can get the idea of ​​what the situation is: his son is accused of having stabbed a classmate to death, before going to bed the night before, as every day. Stephen Graham, cooker and the suffered father of the alleged murderer. Courtesy of Netflix The first way to sell Netflix’s novelty is instinctive: Jack Thorne and Stephen Graham, who collaborated in the traumatic The Virtues, present from realism one of the worst nightmares that a father or mother can have. It is the idea that, in that tortuous maturation process that is adolescence, child goodness can be deform until the murder of another human being. It is the challenge to that impossibility that the child you cried, to whom you have prepared breakfast, which you have given the kiss of good night, which you have educated as you have been able to be, it can be a monster. However, the most emotional aspect is not the only way to recommend this adolescence released by Netflix this Thursday and defending that we are facing one of the most interesting and prodigious works of this year (and yes, I dare to say that in December it will continue to be). And it is that the scene narrated in the first two paragraphs, which include two displacements with vehicles, changes of scenarios, doors and more doors that open and close, cries and desperate screams, and moments of movement and others of intimacy, is shot as a sequence plane. It is a prodigious hour where this sometimes artificial resource, almost chulesco, is put at the service of the situation. In the remaining three episodes that complete the brief season, the sequence plane remains as a narrative choice. Without going into details, the second chapter shows the agents entering the school of the accused and the victim to, among perhaps more than a hundred students, address the essence of adolescence and the hardness of that environment that is secondary education. In the third, almost the entire episode takes place around a table and with only two characters: the defendant and a therapist. And, finally, the fourth and last shows the father’s birthday, played by Stephen Graham himself, while he must face how the accusation and facts have affected the family. The sequence planes (one per chapter and without times when any trap is seen) force to consider how two creators choose to complicate so much life. Each delivery implies the coordination of more than a hundred people (or two hundred), with scenes with actors and figures practically without experience. At no time can it be seen that the script renounces any element to facilitate the direction of Phillip Barantini: you just have to see how in the second chapter, in the visit to the school, stairs are climbed and low planning). Erin Doherty is a therapist in the third chapter. Courtesy of Netflix is, therefore, a very voluntary technical genius, whose greatest virtue resides in the way in which the sequence plane accompanies and transforms its intentionality with each delivery. In the first, it transmits the chaos of which is suddenly and porrazo in the system as accused of murder. In the second, the naturalness with which it moves through the halls and captures everyday moments of the school helps define adolescent psychology. And, with respect to the third, it contributes to the creation of an intimate atmosphere where to carry out a face to face that encapsulates the complexity of the human being. It never opts for aestheticism but Graham, one of the greatest exponents of British realism, maintains the dramatic, realistic and local essence of its trajectory. Owen Cooper’s work as Jamie is extraordinary, which looks appropriate that the character requires, in a dramatic arc that forces to inspect the environment and context in which young people are forced to grow: of harmful dynamics in social networks, of toxic masculinity messages that reach them through the screen when they are alone in their room, of acceleration of sexuality (and the social pressure that the minors feel) Models offered by parents affect children (and to what extent this self -criticism should not necessarily become guilt). Adolescence never raises history as a mystery but as a human drama that makes these issues flourish. How the camera moves through school! Courtesy of Netflix I can’t think of any other series that has been delivered to such a complicated creative mission and from humility, aware that the technical show must always accompany history and help amplify its power. It is simply amazing.

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