Reviews: Review of “Supernova”, series by Ana Katz (Amazon Prime Video)

The director of The chair game, a wandering bride, The Martians, my friend from the park, Dream Florianopolis Y The dog that doesn’t shut up ventures again into the universe of the series after the experience of alternative therapy with this charming tragicomedy about three souls in pain.

Supernova (Argentina/2022). Showrunner: Ana Katz. Direction: Ana Katz and Juan Fernández Gebauer. Cast: Johanna Chiefo, Carolina Kopelioff, Ruggero Pasquarelli, Nancy Dupláa, Inés Estévez, Marina Bellati, Luis Ziembrowski, Diego Cremonesi, Valentina Bassi, Pablo Sigal, Renzo Cozza and Bimbo. Screenplay: Ana Katz and Daniel Katz, with the collaboration of Ezequiel Radusky and Nancy Gay, based on an idea by Johanna Ghiefo. Photography: Gustavo Biazzi. Art direction: Andrea Benitez. Editing: Andres Tambornino. Music: Gustavo Pomeraniec. Sound: Gustavo Pomeraniec and Adrián Rodríguez. Production: Kapow and October Group. Duration: 4 episodes of between 31 and 38 minutes. Total: 136 minutes. Available in Latin America and the United States from Friday, July 8 on Amazon Prime Video (in Argentina also on open television on Channel 9).

“Did you try. you failed. Does not matter. Try again. Fail again. Fail better.” Samuel Beckett’s phrase that appears at the beginning of each of the four episodes of Supernova serves as a kind of declaration of principles and intentions of this series about three young people in their thirties, lovable antiheroes and antiheroines who try as best they can (however they get) to overcome an accumulation of disappointments, frustrations, irritations, prejudices and conditioning. To the blows of life, definitely.

The series that has Ana Katz as showrunner could be analyzed in terms of political correctness that is so in vogue (it deals with non-normative bodies, the new masculinity, toxic relationships, hate speech), but the talented writer and director He has enough intelligence not to fall into the descent of the discursive line and to make the different contemporary conflicts emerge in a natural and credible way in the midst of the daily dynamics of the characters.

Beyond a total duration that could perfectly be that of a feature film (136 minutes with the credits of the four chapters included), Supernova It has a choral, fragmentary and pendular structure more typical of a series than of a film and with the leading role divided into three.

Nicolasa (Johanna Chiefo, quite a revelation) spends her time between castings for advertisements looking for “Plus Size Models” and the meager income she gets from selling empanadas on the street that she prepares herself. When she is asked in a session to tell the camera first her height (1.59) and then her weight, she begins to cry brutally and disconsolately in a scene that exposes all the anguish contained. However, when she seems to be going through the worst moment (she also maintains a tense relationship with her father and her stepmother played by Luis Ziembrowski and Inés Estévez), she is chosen for a commercial that becomes immensely popular. People recognize her on the street, she asks her to take selfies of her, but she calls her “Fat Fruit” in a clear stigmatization in times of fatphobia.

Mimí (Carolina Kopelioff) is an actress and influencer on the rise thanks to her work in soap operas who lives with her mother Elsa (Nancy Dupláa), but has an uncomfortable and unequal affair with Satu (Diego Cremonesi), a producer for channel 25. years older than her who promises (and never keeps) that he will divorce his wife to whiten the relationship. Her tension and stress give him a nervous tic with a permanent blink that threatens to destroy her meteoric career.

And finally there is June (Italian Ruggero Pasquarelli), who has to sell an apartment, tries to cope with her diabetes with unconventional (and apparently ineffective) techniques, and then falls in love with José (Jhonathan Padilla), the greengrocer in her neighborhood.

The misadventures of Nicolasa, Mimí and June (the least interesting of the three characters) are initially described separately, but little by little the stories of these three creatures will converge at home gatherings or parties, where certain contradictions will be exposed, but also empathy, loyalty, solidarity and friendship.

Katz’s characters suffer emotional and physical blows all the time (a sprained ankle, fainting in the middle of the street, being attacked by motorcycles), but the director never judges them, she loves them and sensitively accompanies them in their degradations and their redemptions, in its depressions and its small, modest victories. An essentially humanistic and empathic universe, far from the cynicism and hatred that prevail outside of fiction in the real world.

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