How is Post mortem, the new series by Nacho Viale, with some police clichés

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This Thursday, October 8, Flow will premiere this fiction starring Julieta Zylberberg, Alejandro Awada and Esteban Pérez. There are 8 chapters of half an hour.

Post mortem follows the basic guidelines of the Scandinavian black policeman who, starting with the novels by Henning Mankell and Stieg Larsson, has been influencing both series and films in recent years. That is to say: an investigation that tackles gruesome crimes without sparing any lurid details, while exposing the psychological flaws of the researchers themselves.

Two pillars support the attempt to give some originality to this fiction made by the producer StoryLab, by Nacho Viale, in co-production with TECtv (the channel of the Ministry of Science, Technology and Innovation). One is the profession of the investigation couple, who are not policemen, but journalists.

He removes Florencia Rodra (Julieta Zylberberg) and Guillermo O’Reilly (Esteban Pérez), the director and / or owner of the newspaper in which they work (David Castro, played by Alejandro Awada), he removes them from the sections in which they work (Technology and Shows, respectively) for assign them a new task: be the pair that supports a new column of police. In times of crisis, they are the great hope of attracting or retaining readers.

The other novel touch is the appearance, in each of the chapters, of a true specialist in criminology. Thus, in the first chapter -the only one that was shown to the press- Ricardo Torres Medrano appears, a graduate in Philosophy and Sociology, who, interviewed by the protagonists, explains how a crime is defined, if the perfect crime exists and what the methodology of a criminal investigation consists of.

Beyond the suitability of the interviewee, his appearance was wasted: his brief testimony left concepts that any reader or frequent spectator of police officers knows by heart. And that Rodra and O’Reilly should also be aware of, even if they are toads from another journalistic well.

Anyway, the bad feeling that the first episode leaves is not rooted there, but rather a rushed narration, full of common places and superficial when it comes to presenting its creatures. Maybe because it is only eight half hour chapters, the introduction seems resolved to the bullfights, as if trying to get rid of the process of introductions. In pursuit of dynamics, depth is sacrificed.

Everything is counted in flashbacks through the testimony that the protagonists give to a prosecutor (Rafael Spregelburd) who investigates a crime that we still do not know. The concrete thing is that, in the present of fiction, both Rodra and O’Reilly are behind bars: We don’t know what they did to end up there, but now the murder suspects are them.

From the statements, we travel to the past and see how these two journalists were from one moment to another taken from their comfort zones to immerse themselves in the dark waters of the police.

The boss calls them to his office, lectures them with a journalistic cliché (“Don’t let the truth ruin a good story for you”) and a while later they are heading to their first mission.

In a remote shed they meet a coroner, Gregorio Trieste (Diego Velázquez), who greets them with a theatrical “welcome to horror” and shows them a corpse that appeared in that place, inside a bag (hence the title of this mystery: “Who killed the man in the bag?”).

Rodra sends another cliché (“The body speaks”) and quickly set up the remanufactured office of the Yankee police, with those blackboards on which obsessive investigators puncture all their clues. He then explains his first conclusions, confusing even though they are illustrated with animations.

Everything is artificial, not very credible, cold. Also, aseptic and impersonal: this is one of those globalized fictions that, like advertisements, are made to work anywhere in the world, blurring any local references (beyond some aerial shot of Buenos Aires). Thus, we see a pristine newsroom and photojournalists living in luxurious apartments.

It will be necessary to see if in the following chapters, Post mortem manages to delve into the conflicts of its characters and generate the magnetism that does not have its first delivery.

SL

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