Cardo, the dark side of the Javis

The Serie Thistle was one of the winners of the last edition of the fierce awards, whose gala was held last weekend. Best dramatic series and best leading actress were the more than deserved awards for the new title sponsored by the Javis, the television tandem formed by Javier Calvo Y Xavier Ambrossi and responsible for hits like Paquita Salas and the biopic of La Veneno. As in any series of its brand, there are cameos and appearances of familiar faces that give it its particular touch. His presence reminds us that we are facing a series of the house. Although both are limited to acting as producers and the true creative responsibility is for Ana Rujas Y claudia costafreda. And this time the tone is not as friendly as that of other titles coming out of the factory. The two women have had total creative control of the series and have ensured that Spain has a title that can rub shoulders with other similar projects in international fiction, such as Could Destroy You or fleabag. Almost nothing.

When a decade ago Lena Dunham announced her Girls as the portrait of her generation, many looked at her as if she had gone too far. Perhaps the creators of Cardo did not have such ambitions. Ana Rujas simply wanted to tell her story. The Javises put her in touch with Costafreda, with whom they had worked on La Veneno. The project was launched and in the end the series did end up being a speaker of the concerns of the millennial generation. The existential emptiness of people born in the 90s that two economic crises in a row have trampled on their expectations for the future and their moments of escape are marked by excess.

It is striking that this type of series has been arriving in Spain at the hands of Atresplayer, While for Netflix Y HBO the proposals are located along more conventional and commercial paths. Paradoxically, that same house has been selling other of its titles to mainstream platforms. So excited have they been in Antenna 3 With the project, they came to broadcast the first two episodes openly in their conventional programming, with the aim of attracting new subscribers interested in seeing the rest. And that Cardo is not an easy series to watch. As explicit in her drug scenes as Euphoria can be. Six half-hour episodes that show that we are facing an inspired work and a result that is very different from that of other series that we can find on television.

Cardo will mark a before and after in the career of Ana Rujas and it is certain that we will see new works by this actress, who has shown talent for other fields of audiovisual narration. The second season of the series is already taken for granted. Paquita Salas already knew that she had found her actress 360 when he discovered her at a theatrical performance in Madrid in the second episode of his own series. Because in the end, Rujas has shown that he not only knows how to act, but that he has co-created and written this fiction. We don't know how autobiographical there may be in its plot, but the protagonist of Cardo is also model and actress. As soon as the series begins, we see him in the bathroom of a joint checking that he has a small problem with body odor. The only thing that occurs to him is to wash the delicate areas with the water from the cistern. From there, we started a downhill and brakeless trip towards the self destruction.

María, which is the name of her character, is not happy. She is a model that could be sweeping the catwalks and be the best of the influencers, but it has the problem that it is neglected. Cardo's title comes because that's how she sees herself. Beautiful on the outside, a thistle on the inside. Through drugs and sex, we witness a self-destructive journey in which María is unable to ask for help. We witness all his sufferings and how he is unable to talk to anyone about the hell he is going through. Somehow, the high expectations that many had placed on her and her career have ended up breaking something inside her. Throughout the series, the soundtrack surprises us by leaving aside the disco and party songs to be replaced by more strident and folk music that is difficult to identify at first. Its origin becomes more explicit when the protagonist comes across a procession of the Virgin of Hope in a town near Madrid. Moment that could be the equivalent of any film event of Holy Week, since it marks the beginning of his redemption. When the series returns, will the traumas return? Or perhaps it will enter the new paths that seem to arise in this ending?

Source link