With the impossibility of being released in theaters due to the pandemic, the film reaches Netfilx, where it occupies the first position of views.
Following the closure of cinemas due to the advance of the pandemic in March, Crazy Heart, the film starring Adrián Suar and directed by Marcos Carnevale finds its premiere on the streaming platform Netflix and occupies the first position of visualizations.
The central theme is the double life led by Fernando (Adrián Suar), the head of traumatology at a clinic in Mar del Plata. “I have a single family, divided into two,” she assures with self-confidence as she divides her time – and the tricks to avoid being discovered – between the home she built with Paula (Gabriela Toscano), a kindergarten teacher in Mar del Plata, with whom he has been married for nineteen years, and Vera’s love (Soledad Villamil) who lives in the city of Buenos Aires and who visits on weekends.
Between two homes, two loves and children separated by four hundred kilometers apart, the bigamist is forced to avoid one lie after another to keep his secret and his machismo well protected. Of course things don’t go well.
With this plot scheme, the script by Marcos Carnevale and Suar himself, paints with few subtleties the universe of this man who seems to have been trapped in past decades, and in a present in which his –the- women occupy a second plane and they turn from naive deluded villains on duty.
In this sense, the tone of the comedy does not find successful or very funny moments (only the presence of Alan Sabbagh as his partner and accomplice) and loses climate despite the printed rhythm. The course is also uncertain when the film navigates between comedy and tries to head towards a darker register, where the revenge of the women takes center stage.
Neither in one field nor in the other are the situations successful enough to strengthen this anachronistic proposal, “adorned” with the panoramas of “La Feliz” recorded from a drone and with forced advertisements that distract and at no time do they try to camouflage themselves as the doctor does. in question.
The famous house of the croissants on Route 2 works as the headquarters of the procedure or “espionage” in which Fernando changes, leaves the alliance and the car, he perfumes himself and becomes “other” to mislead. The film also boasts a “voice-over narration” that somehow underlines what is already understood through the images. If Paula has an accident that leaves her almost blind at the beginning, it is perhaps, not to see what is coming.
Neither the usual morisquettes from Suar, seen in other films, nor the good actresses who accompany him here manage to give more flesh to their characters.
Why not? The film navigates between the humorless macho comedy and the revenge that does not convince with its situations. Comedy. Argentina. 2020. 108 ‘. From: Marcos Carnevale. With: Adrián Suar, Soledad Villamil, Gabriela Toscano, Betiana Blum, Alan Sabbagh, Darío Barassi and Magela Zanotta. Available on Netflix.