Why not miss Carmel: who killed María Marta ?, by Netflix

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Criticism of the documentary series, directed by Alejandro Hartmann, which seeks to shed light on the Belsunce crime, which occurred in 2002. High level on all fronts.

After years of media bombardment, with a narrative arc that went through various forms and genres -from Agatha Christie’s police to the grotesque, through melodrama and sainete- and so many judicial ups and downs that were left to nothing, it seemed that the García case Belsunce was already exhausted. But Carmel revives with noble weapons the question that never finished being answered: Who killed María Marta?

One of The great merits of this documentary miniseries is to take advantage of the small historical perspective that it has. Eighteen years after the crime, once the dust of confusion settled and the deafening noise of the media out, review the case from scratch separating the chaff from the wheat, with the possibility of reflection that gives not having a journalistic urgency for the scoop.

And it does so with an essential resource: the word of almost everyone involved, which are expanded without the pressure of being before public scrutiny. The three exceptions were the neighbor Nicolás Pachelo -one of the suspects in the crime- and the masseuse Beatriz Michelini, who did not want to participate, and the brother-in-law Guillermo Bártoli, who died in 2014.

The widower and main defendant, Carlos Carrascosa, and the prosecutor who accused him, Diego Molina Pico, they become the great antagonists. With striking calm and parsimony, they review not only the alternatives of the case, but also curious details of their own lives before an interlocutor –Alejandro Hartmann, the director, who was in charge of all the interviews – who listens to them with empathy, but while still asking the awkward questions.

With that same spirit, all the characters contribute some piece to put the puzzle together: none is wasted. Their testimonies are intertwined with those of three journalists who covered the case (Pablo Duggan, Rolando Barbano and Martín Sassone), who recounted the events chronologically. Each event or discovery of the cause is followed or preceded by the subjective version of the protagonists.

There are remarkable writing and editing work. It is not easy to display the infinite edges of a case that has 36 bodies and thousands of pages with the clarity and rhythm that this documentary has. So that no one loses the thread of the narrative, every so often a timeline is drawn in which the fundamental events are added.

But the didactic desire does not detract from the suspense: Carmel It doesn’t get tangled up in the tangle of contradictions, it exposes them, and it grows more exciting as the chapters go by.

Archival items are selected with surgical precision. There is surprising material, such as the scenes of the Carlos Carrascosa trial or the audio of the calls that were made to 911 and medical emergencies on the night of the crime. The overabundance of television images available may have muddied the story, but they are packed in homeopathic doses, putting the aftermath of the case in context and illustrating its delusional overtones.

In this sense, Hartmann, the general producer Vanessa Ragone and the rest of the team knew not to be tempted to deviate into the sham. In any case, there are colorful characters, such as the two women who were in charge of carrying out a public campaign to defend the innocence of Carrascosa and the García Belsunce family, who they took a medium to the crime scene to reveal what happened on the night of October 27, 2002.

The documentary also departs from the strictly policing to glancing at aspects of the case that are between semiology and sociology, such as the influence that the media had on the development of the legal case or the reason for the fascination it produced in society. Argentina. Here yes, perhaps with the exception of Claudia Piñeiro, the testimonies of the writers and intellectuals consulted leave flavor of little.

Definitely, Carmel raises more questions than answers, frees us to our own conclusions and opens the game of debate. Beyond the intrinsic morbidity – what other motivation does the public have to follow a police case? -, it does not exploit the gruesome aspects, but rather puts the viewer on the roller coaster of investigation.

What in one chapter appears one way, the next is seen in the opposite way. Throughout the miniseries, heroes turn into villains and maybe later become heroes again. Of course: until now, no one is guilty of having fired the five shots that killed Maria Marta García Belsunce.

Qualification: Very good.

Year: 2020 Director: Alejandro Hartmann Executive production: Vanessa Ragone and Mariela Besuievsky Showrunner: Vanessa Ragone.

Script: Sofía Isabel Mora, Lucas Bucci, Tomás Sposato, Alejandro Hartmann Production management: Carolina Urbieta Post production supervisor: Mariana Bomba Investigation: Sofia Isabel Mora.

Issue: Four 56-minute episodes on Netflix.


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