Martin Cid's Blog: Martin Cid Magazine, page 27

“Criminal Code” Season 2: Netflix Ups the Ante with More Explosions and Intrigue

The Brazilian action drama, “Criminal Code” (original Portuguese title: DNA do Crime), grabbed attention a couple of years ago and returns today for its second act. It was one of the most-watched Brazilian series that year, and its formula blending action with realism immediately captured the public’s attention.

Escalating War: The High-Stakes Plot of Season 2

The narrative for Season 2 dives deeper into the dangerous world of cross-border crime. Following their audacious move to help the Ambassador escape from prison, Isaac (Alex Nader) and his formidable “Ghost Gang” become prime targets for the Federal Police. Their operations escalate dramatically, with “increasingly sophisticated robberies” transforming them into true “legends of crime,” posing an unprecedented challenge to the authorities.

This intensified manhunt will test the mettle of the federal agents. Suellen (Maeve Jinkings) finds her leadership capabilities severely challenged as she navigates the complex and demanding investigation. Simultaneously, Benício (Rômulo Braga) faces a profound personal crisis, reeling from the loss of another friend and the shocking revelation that the notorious “The Soulless” (Sem Alma, played by Thomás Aquino) has escaped from prison. This development not only heightens the emotional stakes for Benício but also signals a dangerous escalation in the threats faced by the entire unit.

The creators have promised that the new episodes will feature many more layers and even more intense, adrenaline-fueled action scenes. This suggests Season 2 isn’t just about bigger explosions and more elaborate heists; it delves into the significant personal toll these events take on its protagonists. Suellen’s leadership test and Benício’s crisis are direct consequences of the escalating criminal activities and the ominous return of a key antagonist, indicating a narrative rich in intertwined character arcs where plot developments fuel personal journeys and vice versa.

Criminal Code – Netflix

Returning Cast and Characters

The core ensemble that brought the gritty world of “Criminal Code” to life returns, ensuring continuity and depth. Key actors reprising their roles include: Maeve Jinkings as the determined agent Suellen; Rômulo Braga as the tormented agent Benício; Thomás Aquino as the menacing “The Soulless”; Alex Nader as the increasingly infamous Isaac. Pedro Caetano, Daniel Blanco, Letícia Tomazella, and Jorge Paz also return to the fold.

The Creators

Heitor Dhalia, the series creator, also serves as its showrunner and lead director, guiding the narrative’s intricate web. He is joined by a directing team that includes Pedro Morelli (who also co-created and directed Season 1) and Felipe Vellas, indicating a collaborative yet unified approach to bringing these complex stories to the screen.

The series is produced by Paranoïd, with Manoel Rangel and Egisto Betti at the helm. Paranoïd is recognized as a renowned independent Brazilian audiovisual production company known for its “bold film, television, streaming, and advertising projects” and its dedication to “delivering visually exceptional creative content.” This reputation underpins the high production values evident in the series.

A cornerstone of “Criminal Code’s” identity is its commitment to authenticity. The series is explicitly inspired by real crimes, and Heitor Dhalia’s team has reinforced this by hiring actual consultants such as former police officers and ex-criminals. This dedication aims to imbue the series with a “docu-drama” feel at times, grounding the thrilling action in a sense of reality. The meticulous use of DNA evidence as a recurring investigative motif further underscores this commitment to portraying credible police work.

For Season 2, Dhalia’s vision reportedly includes expanding the scope of the criminal universe. The narrative will move beyond a single-heist focus to explore the Ghost Gang’s evolution into a legendary criminal entity, presenting an even greater challenge for law enforcement. This expansion allows for broader thematic exploration, delving into concepts like “loyalty, betrayal, and the blurred lines between law and crime” within a “gray moral zone.” Such thematic depth suggests a mature narrative approach aimed at engaging audiences on multiple levels.

Brace for Impact

The series returns with intensified action, deeper character studies, and the continuation of a gripping, authentic crime saga that has captivated a global audience. It stands as a testament to the power of Brazilian storytelling on the international stage, pushing boundaries and delivering high-quality, adrenaline-pumping entertainment.

The success of its first season, coupled with the ambitious promises for the second, shows that “Criminal Code” is not only building on its own achievements but is also potentially setting a new benchmark for large-scale Brazilian television productions, particularly within the action and crime genres.

Get ready for a season that aims to be more explosive, more intricate, and more emotionally resonant than ever before. The code is about to be broken again, and the consequences will undoubtedly be spectacular.

Enjoy the show.

Where to Watch “Criminal Code”

Netflix

Sara – The Woman in the Shadows: Teresa Saponangelo is Netflix’s New ‘Invisible Woman’ in a Gripping Italian Crime Drama

“Sara – The Woman in the Shadows” is Netflix’s new crime drama, set to deliver a potent mix of gripping suspense, intricate mystery, and profound emotional depth. The six-episode series stars Italian actress Teresa Saponangelo, who takes on the complex role of Sara, a retired intelligence agent drawn back into a world she thought she had left behind.

Adapted from a popular crime novel series, “Sara -The Woman in the Shadows” arrives as global audiences are increasingly captivated by “Italian noir” and other European crime genres, suggesting this series is well-positioned to attract significant international attention.

A Mother’s Descent into a Past She Can’t Escape

“Sara – The Woman in the Shadows” plunges viewers into the life of Sara Morozzi (Teresa Saponangelo), a former top agent for the internal secret service. Once revered as the “invisible woman” for her exceptional espionage skills, including an astonishing lip-reading ability, Sara now lives a life of quiet seclusion. Her solitude is a fortress built around the painful grief over her son’s premature and suspicious death. This devastating personal tragedy serves as the inevitable catalyst, dragging her back into the dangerous shadows of the espionage world she had renounced.

Her quest for truth and justice for her son forces Sara to break her isolation and seek help from a former colleague and friend, Teresa, played by Claudia Gerini. This reunion is far from simple; it comes at a price, a “favor for a favor” agreement that compels Sara to reactivate her dormant espionage skills. Instantly, she finds herself entangled in her old life, navigating an investigation that uncovers a series of increasingly sinister crimes and hints at a much larger, more ominous conspiracy.

The series promises a deep dive into Sara’s internal turmoil as she grapples with the dual burden of hunting her son’s killer while simultaneously confronting the painful reality of who he truly was—a life she admits she “knew almost nothing about.” This journey forces her to confront “many ghosts from the past,” suggesting a narrative rich in psychological complexity. Sara’s nickname, the “invisible woman,” could extend beyond her espionage prowess to symbolize her hidden state of grief and subsequent re-emergence as an act of reclaiming agency. The investigation into her son’s death acts as a Pandora’s Box, potentially revealing uncomfortable truths about his life and the consequences of Sara’s own past, intertwining her personal trauma with secrets that may reach into the very fabric of the state.

Sara – The Woman in the Shadows

The Cast: Faces Emerging from the Shadows

Teresa Saponangelo as Sara Morozzi: The Reluctant Heroine

Teresa Saponangelo, known for her compelling performances in films like “The Hand of God,” embodies the central character of Sara. Once a formidable agent, Sara is now depicted as “tired and withdrawn,” a woman of immense strength yet profound vulnerability.

Sara’s unique abilities—her “invisibility” and her lip-reading talent—are not mere tools of her former trade but extensions of her observant and perhaps reserved personality. As Sara navigates her grief and the perilous path back to espionage, she starts “very depressed, gloomy, regressed… then slowly reopens, rediscovers life,” hinting at a significant character arc of rediscovery and resilience.

Claudia Gerini as Teresa: The Complicated Ally

Veteran Italian actress Claudia Gerini (“Suburra: Blood on Rome”) plays Teresa, Sara’s former colleague and friend whom she turns to in her hour of need. This relationship implies a deep, albeit potentially fraught, history forged in the crucible of secret service operations. Teresa is the gatekeeper to Sara’s past and the one who sets the terms for her return, suggesting a dynamic laden with unspoken understandings and complex loyalties.

Key Supporting Characters: Weaving the Web

The narrative is further enriched by a strong supporting cast:

Flavio Furno plays Pardo, a police officer who works alongside Sara, potentially acting as a conduit between her clandestine activities and official channels.

Chiara Celotto portrays Viola, a photographer who was Sara’s late son’s partner and, crucially, is pregnant with his child. Viola represents a direct, living link to Sara’s grief and a powerful symbol of future and vulnerability. Her presence introduces enormous emotional stakes and could become a focal point for Sara’s protective instincts, intertwining the quest for justice with a maternal drive to safeguard the next generation. The original novels also suggest Viola gives Sara a grandson, offering a period of peace before new dangers emerge.

The ensemble also includes Giacomo Giorgio as Ciro Musella, Massimo Popolizio as Corrado Lembo, Antonio Gerardi as Tarallo, Carmine Recano as Massimiliano, and Yoon C. Joyce.

The casting of established Italian actors like Saponangelo and Gerini signals a commitment to high-caliber performances, essential for a character-driven thriller aiming for international appeal.

From Page to Screen: The Legacy of Maurizio de Giovanni

“Sara – The Woman in the Shadows” draws its narrative depth from the popular crime novel series “Le indagini di Sara” (“Sara’s Investigations”) by celebrated Italian author Maurizio de Giovanni. De Giovanni is a household name in Italian crime fiction, also known for creating other successful series like “The Bastards of Pizzofalcone” and “Inspector Ricciardi,” many of which have also been successfully adapted for television. This literary pedigree provides a rich foundation for the series and built-in anticipation from fans of his work. De Giovanni’s novels often explore the “insidious territories of the collective and criminal memory of an entire country,” themes that seem to resonate in this adaptation.

Direction by Carmine Elia: Weaving Suspense and Emotion

The series is directed by Carmine Elia, whose credits include acclaimed Italian series such as “The Red Door” and “The Sea Beyond.” Elia’s vision for “Sara – The Woman in the Shadows” centers on the unspoken, stating, “In Sara, there is all the weight of the unsaid. That’s why every one of her actions acquires a rare narrative force.” He further characterizes the series as one that “doesn’t scream, but digs.” This suggests a directorial style that prioritizes subtlety, psychological depth, and an “Emotional Noir” sensibility where the characters’ internal landscapes are as crucial as the unfolding plot.

The Writers’ Room: Balancing Fidelity and Pace

The task of adapting de Giovanni’s novels for the screen fell to a writing team including Donatella Diamanti (“Carlo & Malik”), Mario Cristiani (“Purple Sea”), and Giovanni Galassi (“Don’t Leave Me”). Their approach reportedly aimed to preserve the spirit of the source material while injecting a modern narrative pace and maintaining a “sober and never complacent tone.”

Production Powerhouse: Palomar and Netflix Italy

“Sara – The Woman in the Shadows” is produced by Palomar, a company renowned for “delivering intense, high-quality drama content,” with Netflix handling global distribution. Filming took place in Rome and Naples, locations that promise to lend a distinctive authenticity and atmosphere to this Italian thriller. The blend of these two iconic cities—with Rome often symbolizing power and history, and Naples offering a rawer, more visceral energy—could create a unique visual and thematic backdrop. Saponangelo mentioned in an interview that Sara resides in a “not-so-nice hotel near Garibaldi station in Naples,” hinting at the “remarkable underworld” settings explored.

Music by Teho Teardo

The crucial element of the series’ atmosphere will be enhanced by the score composed by Teho Teardo. His music is described as accompanying the “silences, doubts, observations,” aligning perfectly with Elia’s understated directorial approach.

Where to Watch “Sara – The Woman in the Shadows”Netflix

Netflix

Beyond the Surface: New Exhibition Champions Contemporary Symbolism

In a cultural landscape often characterized by rapid consumption and superficial interactions, a new art exhibition is set to invite audiences to explore more profound, introspective themes. “Contemporary Symbolism,” hosted at Ryan Graff Contemporary, will showcase a diverse collection of works that highlight Symbolism not as a historical footnote, but as a dynamic and significant force in today’s art world.

The exhibition seeks to challenge the common perception of Symbolism as mere fantasy or decorative whimsy. Instead, it positions the genre as a vital avenue for exploring complex human experiences. The featured artworks are designed to evoke feeling, memory, and introspection, moving beyond literal interpretations to engage viewers on a deeper, more personal level.

“Contemporary Symbolism” aims to foster a dialogue between traditional symbolic language and new artistic visions. The show will present a compelling juxtaposition of cultural myths and personal iconographies, creating a space where the sacred and the secular, the timeless and the immediate, can intersect. Each piece is presented as a portal into a rich symbolic language, encouraging viewers to uncover their own interpretations and connections.

Organizers suggest that in an era where many seek substance over novelty, Symbolism offers a potent source of depth and meaning. The exhibition is framed not as a provider of definitive answers, but as a space for contemplation—a mirror reflecting our inner worlds and a catalyst for ongoing inquiry.

The international lineup of artists contributing to “Contemporary Symbolism” includes Daniel Bilmes (USA), Denis Sarazhin (Ukraine), João Ruas (Brazil), Joshua Flint (USA), Kent Williams (USA), Kevin Foote (USA), Larisa Brechun (USA), Nadezda (Spain), Nadine Tralala (Germany), Rim Baudey (Kazakhstan), Soey Milk (Korea), Stephen Schirle (USA), and Thierry Carrier (France).

“Contemporary Symbolism” will be on view at Ryan Graff Contemporary, located at 804 Sutter Street, San Francisco, CA. The exhibition runs from June 7 to July 19, 2025. An opening reception is scheduled for June 7, from 5 PM to 9 PM, with a special First Thursday sneak preview on June 5, from 6 PM to 10 PM.

LARISA BRECHUN (USA)SURRENDEROil on panel24 x 18 inches61 x 71.1 centimeters

Netflix Presents “A Widow’s Game”: True Crime Thriller Starring Ivana Baquero and Carmen Machi Explores a Real-Life Case

Netflix is releasing “A Widow’s Game,” a film that promises a chilling exploration of a real-life murder that shocked Spain, brought to the screen by a team renowned for their compelling crime narratives. As you know, crime sells, and audiences dictate. What’s better than a true murder story for a Friday night?

The premiere of “A Widow’s Game” marks Netflix’s continued investment in high-caliber international productions, particularly within the true crime genre that has found a fervent global audience. The film stars Ivana Baquero, celebrated for her breakout role in “Pan’s Labyrinth” and her subsequent work in “High Seas,” as the enigmatic widow María Jesús Moreno Cantó, known as Maje. Opposite Baquero is the highly respected Spanish actress Carmen Machi (“Celeste,” “Criminal: Spain”) portraying Eva, the determined inspector tasked with uncovering the truth. Tristán Ulloa, known to audiences from “The Asunta Case” and “Berlin,” plays Salva Rodrigo, a pivotal figure entangled in Maje’s web.

“A Widow’s Game” is a dramatization of the shocking true crime case known in Spain as “la viuda negra de Patraix” (the Black Widow of Patraix), which unfolded in Valencia in 2017. The film is produced by Bambú Producciones, the same powerhouse behind the acclaimed series “The Asunta Case,” along with the involvement of the same writers and director Carlos Sedes.

The True Story: Unmasking the “Black Widow of Patraix”

The film dives into the dark events of August 16, 2017, when Antonio Navarro Cerdán, an engineer, was brutally murdered, sustaining seven stab wounds, in a garage in the Patraix neighborhood of Valencia, Spain. What initially appeared to investigators as a possible crime of passion soon took a more sinister turn as suspicion fell upon an unlikely figure: María Jesús Moreno Cantó, or Maje, the victim’s young widow. Described as “sweet and serene,” Maje had been married to Navarro for less than a year, a detail that further intensified scrutiny.

The investigation eventually unraveled a complex plot involving Maje, a nurse, and her lover and colleague, Salva Rodrigo. Both were later convicted for their roles in Navarro’s death, with a 2020 court ruling sentencing Maje to 22 years in prison for planning the murder and Salva to 17 years for carrying it out, having received instructions and even the garage keys from Maje. The case captivated Spain as details of Maje’s “hidden double life” emerged, replete with manipulative relationships and deceit that starkly contrasted with her public demeanor. This profound dichotomy between a carefully constructed facade of innocence and the grim reality of a calculated murder forms the dramatic heart of the true story. Such inherent duplicity is a powerful and enduring trope in true crime, offering fertile ground for a cinematic exploration of the darker aspects of human psychology, a theme “A Widow’s Game” appears poised to thoroughly investigate.

Bambú Producciones and the Vision Behind the Film

“A Widow’s Game” comes from Bambú Producciones, a leading European production company helmed by the prolific writer-producer Ramón Campos. The company boasts an impressive slate of successful television series, including “Grand Hotel,” “Velvet,” and “Cable Girls,” and has demonstrated a particular aptitude for the true crime genre with productions like the documentary “The Alcàsser Murders” and the acclaimed series “The Asunta Case.” This track record sets a high bar for the quality and narrative depth expected from their latest offering.

Directing the film is Carlos Sedes, a frequent collaborator with Bambú Producciones who also directed episodes of “The Asunta Case,” “Grand Hotel,” and “Cocaine Coast,” showcasing his expertise in handling dramatic, crime-focused narratives. The screenplay is penned by the same formidable writing team behind “The Asunta Case,” comprising Ramón Campos, Gema R. Neira, Jon de la Cuesta, and David Orea Arribas, who are joined by Ricardo Jornet and Javier Chacártegui for this project. This continuity in the creative team reinforces the connection to their past successes and suggests a consistent stylistic and thematic approach.

Executive producer Ramón Campos has been notably articulate about the film’s investigative core, stating that the project was driven by a desire to understand a fundamental question: “Why does a person consider it better to commit murder than to get a divorce?” He further elaborated on the film’s perspective, emphasizing, “Because this film is not about the victim. It’s about the murderers. Because sometimes the answer to our actions doesn’t lie in who we are, but where we come from.” This explicit focus signals an intention to delve into the psychological and perhaps socio-environmental factors that might contribute to such extreme actions, moving beyond a simple recounting of criminal events. The decision to film in Valencia, the actual setting of the crime, further seeks to anchor the narrative in authenticity.

The ongoing collaboration between Netflix, Bambú Producciones, Campos, Sedes, and the writers of “The Asunta Case” points towards the deliberate cultivation of a distinct “Bambú True Crime” identity. This emerging brand is becoming synonymous with high production values, intricate storytelling, and a deep psychological exploration of Spanish true crime, tailored for both domestic and international audiences. Campos’s statements about focusing on the murderers’ motivations also underscore a narrative strategy that prioritizes character-driven drama. This approach promises a more nuanced and potentially unsettling exploration of human behavior, distinguishing the film from conventional procedurals by inviting the audience to confront the complexities of the perpetrators themselves.

Cast and Characters

The film’s success will undoubtedly hinge on the performances of its lead actors in embodying the central figures of this disturbing case.

Ivana Baquero as María Jesús Moreno Cantó (‘Maje’):

Ivana Baquero, who gained international recognition for her Goya-winning role in “Pan’s Labyrinth” and later starred in Netflix’s “High Seas,” takes on the challenging role of Maje.

Carmen Machi as Eva:

Veteran Spanish actress Carmen Machi, lauded for her work in projects like “Celeste” and “Criminal: Spain,” portrays Eva, the seasoned Homicide Group inspector leading the investigation.

Tristán Ulloa as Salva Rodrigo:

Tristán Ulloa, who delivered a memorable performance in “The Asunta Case” and also appeared in “Berlin,” plays Salva Rodrigo, Maje’s lover and coworker, who becomes instrumental in her deadly plan.

Supporting Cast:

The ensemble also includes Joel Sánchez as Daniel, Álex Gadea as Antonio (the victim), Pablo Molinero as Turrientes (another inspector), Pepe Ocio as Bernardo (also an inspector), Ramón Ródenas as Javier Gil, Amparo Fernández, and Miquel Mars, each contributing to the fabric of this grim narrative.

Baquero’s articulation of Maje’s character—driven by a desire for a “harem of admirers” and to be “idolized”—points to the film’s ambition to present a psychologically intricate female antagonist. This moves beyond the often reductive “femme fatale” or “black widow” archetypes, suggesting a deeper exploration of narcissism, control, and profound personal dissatisfaction. This nuanced approach aligns with executive producer Ramón Campos’s stated intention to investigate the origins and underlying motivations of the perpetrators.

Atmosphere and Psychology

The narrative focus quickly pivots to Maje, whose “sweet and serene” demeanor starkly contrasts with the mounting evidence and the investigators’ deepening doubts. The dialogue underscores this growing suspicion.

Based on the shocking case of the “Black Widow of Patraix,” the film brings together the formidable talents of Ivana Baquero and Carmen Machi, under the direction of Carlos Sedes and the proven production seal of Bambú Producciones. The creative team, responsible for the acclaimed “The Asunta Case,” signals a commitment to quality storytelling and psychological depth.

With Ivana Baquero offering a nuanced perspective on her portrayal of the manipulative Maje, the film promises to delve into the unsettling ambiguities of a character who defied easy categorization.

The formula has worked before and promises to work again, especially with audiences.

Perfect for a Friday night.

Enjoy it.

Where to watch “A Widow’s Game”

Netflix

The Revealing Heartbeat of a New Romance: ‘The Heart Knows’ Arrives on Netflix.

Netflix today premieres ‘The Heart Knows’ (original title: ‘Corazón Delator’), an Argentine romantic drama poised to explore the intricate landscapes of love, identity, and the indelible marks left by past lives. The film presents a poignant premise: a man, fundamentally altered by a heart transplant, embarks on an unforeseen odyssey that challenges his understanding of himself and forges an unexpected and profound connection.

The film’s central idea—a love story that aspires to transcend even death—coupled with the dramatic catalyst of a heart transplant, immediately signals a narrative rich in emotional stakes. This premise is inherently compelling, suggesting a journey where the boundaries of self blur and new affections blossom from the remnants of a past love. The global platform offered by Netflix ensures that this Argentine production, with its distinct cultural voice, can reach a worldwide audience, inviting international viewers to discover its potentially universal themes.

The Heart Knows

A Transplanted Life, A Borrowed Love: Unraveling the Narrative

‘The Heart Knows’ delves into the extraordinary transformation of Juan Manuel (or Manuel), a man initially depicted as a “cold-hearted businessman” or, in another description, a “once carefree entrepreneur.” His life takes an irrevocable turn upon receiving a heart transplant from Pedro, a “humble man.” This life-saving procedure becomes the wellspring of a profound internal metamorphosis. Manuel experiences a significant personality shift, an alteration so compelling it drives him to investigate the life of his donor.

This search into Pedro’s world leads Manuel to a fateful encounter with Valeria (Vale), Pedro’s widow. An undeniable, almost preternatural connection sparks between them. Vale, in turn, seems to perceive something familiar in this stranger, recognizing “her late husband’s kind heart” resonating within Manuel. As Manuel immerses himself further in Pedro’s former life and community, he falls deeply in love with Vale. However, this burgeoning romance is overshadowed by a critical secret: Manuel conceals his true identity and the fact that Pedro’s heart now beats in his chest.

The narrative employs the speculative, yet dramatically potent, concept of cellular memory as the engine for Manuel’s transformation and his subsequent bond with Vale. The “personality change” is not merely a psychological response to a near-death experience; it is portrayed as an intrinsic shift, as if the very essence of the donor has been imprinted upon the recipient. This allows Manuel’s journey—his investigation into Pedro’s life, his burgeoning love for Vale, and his altruistic efforts to save Pedro’s neighborhood—to stem from an organic, almost involuntary evolution rather than a purely conscious decision.

The film establishes a clear thematic dichotomy between Manuel’s former existence in the potentially ruthless world of business and the rooted, community-oriented life of his donor, Pedro. The heart transplant forces a collision of these contrasting value systems within Manuel himself. His internal struggle and subsequent actions, particularly his fight “to save Pedro’s neighborhood,” become a commentary on these differing approaches to life, highlighting themes of empathy, class, and the re-evaluation of personal priorities.

Central to the dramatic tension is Manuel’s deception. While perhaps initially born from the sheer difficulty of revealing such an extraordinary truth, his concealment of the heart’s origin as his feelings for Vale deepen creates a precarious foundation for their relationship. This raises compelling ethical questions: Can a love built on such a fundamental omission be truly genuine? And can it withstand the inevitable revelation? The high stakes of this hidden truth promise a narrative fraught with emotional complexity and moral dilemmas.

The Director’s Imprint: The Lens of Marcos Carnevale

At the helm of ‘The Heart Knows’ as both writer and director is Marcos Carnevale, an established figure in Argentine cinema. Carnevale has cultivated a distinctive directorial voice, often characterized by a sensitive blend of romance, comedy, and drama. His filmography consistently demonstrates a focus on human connection, empathy, and the nuanced exploration of social issues and prejudices, often approached with a light yet poignant touch.

Carnevale’s body of work, including acclaimed titles like ‘Elsa & Fred’ (2005) and ‘Anita’ (2009), reveals a penchant for heartfelt narratives that resonate deeply on an emotional level. Particularly relevant to ‘The Heart Knows’ are his successful prior collaborations with lead actress Julieta Díaz. Films such as ‘Lionheart’ (Corazón de León, 2013), ‘My Love or My Passion’ (El fútbol o yo, 2017), and ‘I’m Not Your Mommy’ (No soy tu mami, 2019) saw the director and actress explore similar thematic territories of overcoming personal and societal barriers in the pursuit of love and understanding. For instance, critical appreciation for ‘Lionheart’ highlighted its “humorous language to talk about quite serious things” and Carnevale’s “sincere direction… that was not afraid to get dramatic and serious when necessary.”

At the Heart of the Story: Benjamín Vicuña and Julieta Díaz

The emotional core of ‘The Heart Knows’ rests on the shoulders of its lead actors: Benjamín Vicuña as the transformed Juan Manuel and Julieta Díaz as the widowed Vale. Vicuña, a Chilean actor with a significant background in theater, having studied at the University of Chile, brings extensive experience from a wide array of film and television projects in both Chilean and Argentine productions. He previously worked with Marcos Carnevale on the 2023 film ‘Dad on the Run’ (Papá al rescate), indicating a pre-existing professional relationship. His role as Juan Manuel is particularly demanding, requiring a convincing portrayal of a character evolving from a “cold-hearted” individual to someone imbued with new empathy and purpose. This transformation is the linchpin of the narrative, and Vicuña’s ability to convey this internal duality—the lingering traces of his old self battling against, and ultimately yielding to, the compassionate influence of Pedro’s heart—will be crucial.

Julieta Díaz, a celebrated Argentine actress, is a frequent and trusted collaborator of director Marcos Carnevale. Their shared filmography includes ‘Lionheart,’ ‘My Love or My Passion,’ and ‘I’m Not Your Mommy,’ projects that often showcased Díaz’s talent for portraying complex, relatable women navigating significant emotional challenges. As Vale, Díaz is tasked with embodying grief, resilience, and the cautious vulnerability of opening up to new love under the most extraordinary and bewildering circumstances. Given her proven synergy with Carnevale, Díaz is well-positioned to serve as the film’s emotional anchor, grounding Vale’s journey with authenticity.

While both actors are established talents and Vicuña has a history of prior work with the director, the specific romantic chemistry between Vicuña and Díaz, within the unique and somewhat fantastical premise of ‘The Heart Knows,’ will be a pivotal element for the film’s success. The narrative requires a delicate balance: Vale must be believably drawn to Manuel, partly because he embodies qualities of her late husband, yet she must also connect with Manuel as an individual. The success of this on-screen dynamic will largely determine the audience’s investment in their unconventional love story.

About the Production

‘The Heart Knows’ is an Argentine production, filmed in Spanish, further cementing its cultural identity. The film comes to the screen through a collaboration of production companies: Kuarzo Entertainment Argentina and Leyenda Films, both local entities, joined by the significant involvement of Sony Pictures International Productions. This partnership with a major international player like Sony suggests a strategic ambition for the film to resonate with audiences beyond its domestic market, an aim further supported by its global release on Netflix.

Adding a tangible sense of place, filming locations include Lanús, a district in Greater Buenos Aires, Argentina, with specific mention of Parque Central Las Colonias. This specific Argentine setting is likely to lend an authentic cultural texture to the story, making the community Manuel becomes a part of, and fights to protect, feel more vivid and real.

While Benjamín Vicuña and Julieta Díaz lead the cast, they are supported by a strong ensemble of Argentine actors, including Gloria Carrá, Peto Menahem, Julia Calvo, Yayo Guridi (also listed as Yayo Guridis), Bicho Gómez, and Facundo Espinosa, among others. A more extensive list also includes Verónica Hassan, Javier De Nevares, Mariano Sayavedra, Christian Marchi, Manuel Da Silva, Anasofia Facello, Mili Schauer, and Lisandro Fiks. Such a robust supporting cast can significantly enrich the narrative, providing depth and dimension to the world Manuel enters and the community surrounding Vale.

Delving into the Mysteries of the Heart

Those familiar with Marcos Carnevale’s previous work, particularly his fruitful collaborations with Julieta Díaz, will find the emotional depth and familiar comforts of his directorial style. The film offers an exploration of universal human experiences—love, loss, the search for self, and the profound capacity for change—all refracted through a unique and thought-provoking narrative lens.

As ‘The Heart Knows’ begins streaming today, it invites audiences to reflect on the invisible connections that bind us and the mysterious ways in which the heart, in all its capacities, may indeed know truths that lie beyond ordinary understanding.

Where to Watch “The Heart Knows”

Netflix

Lost in Starlight: Netflix’s Korean Animation Aims for the Moon with a Tender, Retrofuturistic Romance

“Lost in Starlight” arrives on Netflix with considerable anticipation and the distinction of being the platform’s first original Korean animated feature film. Its simultaneous release in select U.S. theaters underscores the importance Netflix attributes to this ambitious project. “Lost in Starlight” is a poignant science fiction romance set in a meticulously imagined Seoul of 2050, charting the celestial and emotional orbits of an aspiring astronaut and a talented musician whose dreams are as vast as the cosmos that separates them.

The Story

“Lost in Starlight” invites viewers to Seoul, 2050, a city gleaming with futuristic advancements yet grounded in enduring human aspirations. The narrative orbits Nan-young, an astronaut whose ambition to reach Mars is deeply intertwined with the legacy of her mother, the first Korean astronaut chosen for a Mars mission, whose own journey ended in tragedy. After the crushing disappointment of failing her final test for the fourth Mars Expedition Project, Nan-young’s path seems clouded. It is in this period of uncertainty that she meets Jay, a musician of considerable talent who has retreated from his own artistic ambitions and now finds quiet purpose running a vintage audio equipment shop.

Their meeting is sparked by a poignant link to the past: Nan-young’s desire to repair an old record player, a memento left by her mother. From this seemingly simple interaction, a tender romance blossoms, one that breathes new life into their dormant dreams. Jay, encouraged by Nan-young’s unwavering support, begins to rediscover his passion for music, while Nan-young finds a renewed sense of hope and connection. The story’s central conflict ignites when Nan-young is unexpectedly offered a second chance to journey to Mars. This dream realized comes at a profound cost: a separation spanning 225 million kilometers, forcing the pair to confront not only the immense physical distance but also the undefined, star-strewn path of their future together.

The film thoughtfully explores how Nan-young and Jay navigate their individual ambitions against the backdrop of their shared love and the looming, almost unbearable, separation. Commendably, the narrative sidesteps common romantic tropes of prolonged misunderstandings, opting instead to portray a relationship where communication and the courage to face insecurities are paramount. This approach allows for a more mature and resonant exploration of love under extraordinary pressure.

The story artfully juxtaposes the grand, almost abstract ambition of space exploration with the intimate, tangible nature of human connection. Nan-young’s dream is Mars, a vast and scientifically challenging frontier. Jay’s world, in contrast, is one of melodies, the warm crackle of vinyl, and the intricate mechanics of vintage audio equipment—a more personal, sensory realm. Their love story unfolds not in sterile laboratories or spaceship simulators, but through shared, earthbound moments: dates exploring the familiar yet futuristic streets of Seoul, the quiet intimacy of repairing a record player. The primary obstacle to their happiness is, quite literally, the breathtaking vastness of space that threatens to divide them. The film’s own tagline encapsulates this dichotomy: “In 2050 Seoul, an astronaut dreaming of Mars and a musician with a broken dream meet among the stars, guided by their hopes and love for each other.” Through this framing, “Lost in Starlight” appears to pose a profound question about the hierarchy of human aspirations. Is the monumental societal achievement of space travel inherently more valuable than the deep, formative connection between two individuals? The film, while respecting the allure of the stars, seems to tenderly argue for the irreplaceable, life-giving power of the latter.

Characters and Performances

The emotional core of “Lost in Starlight” resides in its two protagonists, Nan-young and Jay, brought to life through nuanced voice performances. Nan-young, voiced in Korean by the acclaimed Kim Tae-ri and in the English dub by Maitreyi Ramakrishnan, is depicted as a brilliant and intensely driven individual. Initially, her life is singularly focused on her Mars mission, a pursuit fueled not only by scientific curiosity but also by a deep-seated need to bring closure to her mother’s fate. Her character arc involves navigating profound disappointment and then grappling with the immense complexity of balancing a once-in-a-lifetime career opportunity with an equally profound personal love. Kim Tae-ri, celebrated for her versatile roles in productions like “The Handmaiden” and “Mr. Sunshine,” reportedly approached this voice-acting role with meticulous care. Despite admitting to some insecurities about her voice, she focused on achieving a deep synchronicity with the director’s vision, aiming to create a vocal presence for Nan-young that felt distinct from her previous on-screen characters.

Jay, voiced in Korean by Hong Kyung and in English by Justin H. Min, is a musician who has allowed his dreams to fade into the background, finding quiet refuge in the tangible world of retro audio gear. He is presented as a flawed yet relatable character, running from past musical failures and insecurities. It is Nan-young’s belief in him that helps rekindle his passion. Hong Kyung, who gained recognition for his performances in “Innocence” and “Weak Hero Class 1,” expressed that he was drawn to the “appealing” scriptwriting and director Han Ji-won’s compelling visual interpretation of 2050 Seoul.

The relationship between Nan-young and Jay is portrayed with a refreshing maturity, acknowledging the emotional messiness and physical intimacy that characterize adult connections. They are not idealized figures; rather, their individual strengths seem to emerge from their vulnerabilities, and they find a compelling balance in each other. Early reviews have highlighted the natural, flowing chemistry between the voice actors, making the couple’s burgeoning romance particularly engaging to witness. Adding another layer to this dynamic, Kim Tae-ri and Hong Kyung reunite for this project after two years, potentially bringing an established rapport to their vocal interplay.

Beyond the futuristic setting and the extraordinary circumstances of an astronaut and a gifted musician, both Nan-young and Jay are defined by deeply relatable human vulnerabilities. Nan-young’s initial failure to make the Mars mission is a significant blow, especially given she is described as “bright and driven, but her work is her life,” suggesting an identity heavily invested in achievement. Jay, on the other hand, “buries his dreams” and is “running away from his dream,” haunted by past criticisms of his music. Their individual growth is not solely a product of personal resolve but is significantly catalyzed by each other’s unwavering faith and support. Nan-young encourages Jay’s music, and Jay’s genuine care and interest in Nan-young as a person, beyond her ambitions, helps her to open up. They consistently “lean on each other,” and the film delves into “the insecurities both characters face.” This grounding in authentic emotional dynamics suggests that “Lost in Starlight” posits that true strength and the pursuit of one’s most cherished dreams are often not solitary endeavors but are nurtured and fortified within the crucible of supportive, understanding relationships that acknowledge and embrace human imperfection.

Lost in Starlight

A Retrofuturistic Seoul

“Lost in Starlight” is a visual feast, presenting a “retro-cyberpunk” aesthetic that is both inventive and deeply resonant. Director Han Ji-won masterfully crafts a 2050 Seoul that feels simultaneously futuristic and warmly familiar, blending cutting-edge technology with nostalgic touchstones like whirring record players and treasured vinyl albums. This visual language is the result of what Han describes as a “deliberate collision of the past and the future.”

The film is frequently described as “gorgeously animated,” a testament to its intricate detail. Close attention is paid to individual linework—the subtle stray strands of a character’s hair, the nuanced lines tracing emotion on a face—creating what one review calls a “stylized yet authentic vision.” The animation seamlessly integrates 2D and 3D techniques, employing 3D for elements like the desolate, beautiful landscapes of Mars or to add depth and scale to specific city scenes.

The environmental art is particularly noteworthy for its richness and “lived-in” quality. Every frame, whether depicting a sprawling cityscape or an intimate bedroom, is packed with details that provide exposition and deepen the world-building. Director Han Ji-won consciously chose to highlight Seoul’s existing architectural contrasts by making “old things look older and more worn down, and new things more minimalistic,” rather than simply superimposing futuristic designs. Symbolic imagery is employed to striking effect: a spinning record transforms into a swirling galaxy; flowers burst forth in dazzling explosions of color. The director herself notes that the “turntable aesthetic tied to the cosmos” serves as a key creative and narrative tool. The film’s shifting color palette, moving through blues, pinks, reds, yellows, and greens, further enhances the emotional tenor of scenes and establishes distinct atmospheres.

This “retro-cyberpunk” visual style is far more than superficial dressing; it functions as a potent visual metaphor for the film’s core thematic concerns. The persistent presence of analog technology and cherished old objects—Nan-young’s mother’s record player, Jay’s vintage audio equipment—amidst the gleaming advancements of 2050 serves to underscore the endurance of human emotion, memory, and tangible connections. The meticulously crafted “lived-in” feel of this future actively resists the often sterile, impersonal tropes of science fiction, suggesting a world that has evolved without erasing its history. Director Han Ji-won’s fascination with “old objects” and the idea that “trends come back around,” coupled with the animation’s focus on “minute actions” that make “the everyday feel dynamic,” roots the futuristic in the relatable and familiar. In essence, the visual design of “Lost in Starlight” compellingly argues that the future will not, and perhaps should not, efface the past or the tactile, emotional anchors that continue to define the human experience. It is a future that wears its history, its heartaches, and its hopes within its very aesthetic.

Han Ji-won’s Vision

At the helm of “Lost in Starlight” is Han Ji-won, a pioneering creator in Korean animated film. Her previous directorial works include the 2023 Girls’ Love-themed Korean animated film “The Summer” and the short film “The Sea on the Day When the Magic Returns” (2023). Her filmography indicates a keen interest in exploring “subjective moments and emotions of the younger generation living in the pressure cooker of South Korean society,” a sensibility she brings to this larger-scale production.

For “Lost in Starlight,” Han Ji-won envisioned a universe where objects and art forms beloved today retain their fascination for future generations. This was inspired by her observation of the cyclical nature of trends and an initial desire to tell a story that could span generations, eventually settling on a narrative where “the current times we live in became the past” for her characters. Her artistic approach emphasizes emotional depth, with a particular focus on “minute actions” in animation. She cites the work of filmmakers like Mamoru Hosoda and the recent animated feature “The First Slam Dunk” as inspirations, where “the everyday feels dynamic” and emotionally charged. A professed love for traditional 2D animation and a belief that “the technology of convenience will never stamp out the love and appreciation for older ways of doing things” profoundly inform the film’s optimistic embrace of analog elements within its futuristic setting. The comparatively larger budget afforded to “Lost in Starlight” compared to her previous independent projects allowed her greater creative freedom to implement these artistic experiments.

This distinctive vision has already garnered high praise, notably from director Bong Joon-ho, who lauded “Lost in Starlight” as a “visual masterpiece that takes you across the universe,” specifically highlighting Han Ji-won’s “intricate and fantastic visual storytelling.”

Despite the grand science fiction canvas of interstellar travel and futuristic cityscapes, Han Ji-won’s established focus on personal, emotional narratives and her meticulous attention to small human details suggest an auteurial, character-driven sensibility. Her fascination with traditional 2D animation, a medium traditionally celebrated for its expressive character work, and her nuanced vision of 2050 Seoul—one that prioritizes existing urban contrasts and makes “old things look older” rather than simply adorning buildings with “spaceship-like details”—further reinforce this. Even Bong Joon-ho’s acknowledgment of her “intricate and fantastic visual storytelling” seems to recognize that this visual mastery is in service of a deeper emotional core. Han Ji-won appears to be using the framework of science fiction romance not merely for its spectacle potential, but as an elevated, luminous stage upon which to explore profoundly human and relatable emotions. This positions her as a distinctive and compelling voice in the expanding world of international animated feature films.

The Role of Music

Music in “Lost in Starlight” is not mere accompaniment; it is a “core element that drives the narrative.” It serves as an invisible tether, connecting Nan-young and Jay even before their fateful meeting and later anchoring them when light-years threaten to pull them apart. Given Jay’s identity as a musician, the score naturally assumes heightened importance within the story’s emotional architecture.

One standout piece is the couple’s recurring theme, “Bon Voyage.” Notably, a version of this track features the distinctive vocals of Kim Taehyung (V of global phenomenon BTS), whose “crooner-like inspiration balances the futuristic setting with analog nostalgia,” perfectly encapsulating the film’s aesthetic blend. Adding authenticity and a personal touch, the lead voice actors, Kim Tae-ri and Hong Kyung, reportedly participated in writing some of the lyrics for music featured in the film, a collaboration that likely helped ensure the songs effectively captured the “headspaces” and emotional journeys of their respective characters.

The film’s musical approach, particularly Jay’s deep connection to vintage audio equipment and the “analog nostalgia” evoked by tracks like V’s rendition of “Bon Voyage,” beautifully mirrors the overarching “retro-cyberpunk” visual theme. Jay’s work at a “vintage audio equipment shop” and Nan-young’s quest to repair the “old record player left to her by her mother” are not just plot devices but symbols of enduring connections to the past. The soundtrack itself, blending futuristic soundscapes with the warmth of “analog nostalgia,” reinforces this. This resonates deeply with director Han Ji-won’s vision, which incorporates “retro objects” and draws on the idea that “trends come back around.” Thus, the music in “Lost in Starlight” functions as more than just an auditory backdrop; it is an active thematic layer, acting as a temporal bridge. It links the characters to past emotions—Jay’s buried dreams, Nan-young’s poignant memories of her mother—and their tentative hopes for the future, underscoring music’s timeless ability to articulate the deepest facets of human experience across ever-changing technological landscapes.

‘Lost in Starlight’ Now Streaming on Netflix

“Lost in Starlight” arrives as a luminous and heartfelt achievement, successfully navigating the ambitious expanse of science fiction romance while marking a significant milestone as Netflix’s first original Korean animated feature. Its strengths are manifold: a visually stunning animation style that seamlessly blends retro charm with futuristic wonder, a deeply emotional narrative anchored by relatable characters, and thematic explorations that resonate with timeless human concerns about love, dreams, and connection.

The film will undoubtedly appeal to a wide audience, particularly fans of thoughtful animated dramas, poignant science fiction romances, and the ever-expanding universe of Korean cinema. Those seeking a visually breathtaking and emotionally engaging experience will find much to admire. Indeed, some early reactions have drawn comparisons to the heartfelt, star-crossed lover narratives of filmmakers like Makoto Shinkai (director of “Your Name.” and “Weathering with You”), suggesting a similar capacity to deeply move audiences.

Where to Watch

Netflix

EMP Thriller ‘One Second After’ Set for Major Film Adaptation

The acclaimed novel One Second After, known for its realistic depiction of the catastrophic consequences of an electromagnetic pulse (EMP) attack on the United States, is slated for a cinematic adaptation. The story, penned by William R. Forstchen, thrusts readers into a harrowing scenario where the nation’s infrastructure is instantaneously crippled.

Set in the mountains of North Carolina, One Second After follows John Matherson, a college professor and former military officer. In the wake of an EMP strike that silences communication, grounds aircraft, and renders modern transportation useless, Matherson must draw upon his skills to protect his family and guide his community. The narrative explores the desperate struggle for survival as society unravels and millions face an uncertain future in a world suddenly stripped of its technological foundations.

The film project is a collaboration between MPI Original Films, known for productions such as Motherland and Pinball: The Man Who Saved the Game, and Startling Inc., a company associated with successful series like Game of Thrones and House of the Dragon.

The screenplay is being written by J. Michael Straczynski, a prominent figure in science fiction, recognized for his work on Changeling, Sense8, Jeremiah, and Babylon 5. Author William R. Forstchen will serve as an executive producer for the film, lending his expertise to the adaptation of his work. Scott Rogers, an award-winning stunt coordinator and second unit director with credits including Tron: Ares and John Wick: Chapter 4, will make his directorial debut with this project.

Forstchen is widely regarded as an authority on EMP technology and its potential impact. He has advised various governmental and private entities on the subject, underscoring the profound vulnerability of modern society to such an event. The author has emphasized that electricity forms the bedrock of contemporary civilization, and its widespread loss would have devastating consequences.

One Second After is the first in a series of four books that delve into the ramifications of an EMP event, offering fictional explorations grounded in the factual possibilities of such a crisis.

Principal photography for the film adaptation is scheduled to commence in Bulgaria this coming September.

“Mad Unicorn” on Netflix: A Thai Series About Thailand’s First Major Startup

“Mad Unicorn” is a series based on Thailand’s first unicorn startup. For those unfamiliar, “unicorn” companies are startups valued at over a billion dollars. This series clearly aims to tell us how this company was created by following the life of its founder and the difficulties he faced in building it, starting from his work in a sand mine seven years ago.

“Mad Unicorn” is a series about the ambition of an entrepreneurial young man who turned a small express delivery company into an empire, a Thai billion-dollar “unicorn.”

Told with rhythm, agility, and a strong narrative sense, “Mad Unicorn” skillfully recounts this story of ambition, transforming it into a mix of a thriller and a business series with comedic touches.

Enjoy it.

Mad Unicorn – Netflix

The Cast

Natara Nopparatayapon, as Santi, is tasked with anchoring the series. His award-winning performance in “One for the Road” demonstrated considerable dramatic range, and his experience as a successful model undoubtedly contributes to a compelling screen presence. The initial episodes will reveal if he can fully embody the complexities of a man caught between ambition and potential “madness.”

Ramida Jiranorraphat, known for her strong performances in youth dramas like “The Gifted” and “Home School,” takes on the role of Xiao Yu. Her character’s name and Jiranorraphat’s own Thai-Taiwanese heritage subtly hint at the possibility of narrative threads extending beyond Thailand’s borders. She could serve as a stabilizing influence for Santi or become entangled in the growing chaos alongside him.

Pachara Chirathivat, who recently impressed in “The Believers” – a series that boldly tackled controversial themes of finance and faith – finds “Mad Unicorn” to be a vehicle aligned with his expressed interest in exploring darker, more complex roles, particularly within black comedies and thrillers. His involvement raises expectations for a character who could be a formidable rival, a morally ambiguous mentor, or a key player in the unfolding intrigue.

Veteran Thaneth Warakulnukroh, praised for his work in films like “Bad Genius” and the critically acclaimed “Pop Aye,” brings a weighty presence. He is well-suited to portray a powerful figure, whether a menacing antagonist representing the old guard, a sagacious guide, or perhaps a tragic character caught in the whirlwind of Santi’s ambitions.

The choice of Thassapak Hsu is a particularly strategic move, given his immense popularity from the Chinese drama sensation “My Girlfriend Is An Alien.” His experience in both Thai and Chinese productions, along with his bilingual background, makes him an asset to Netflix’s pan-Asian strategy. He might embody an international investor, a sophisticated competitor, or an ally whose motives remain intriguingly opaque.

Perhaps the most unconventional and exciting piece of casting is Palang Rocksilp, an opera singer with acting experience in Chinese film and television.

Where to watch “Mad Unicorn”

Netflix

Dept. Q Arrives on Netflix: Matthew Goode Confronts Edinburgh’s Darkest Cold Cases in a Thriller from the Mastermind Behind ‘The Queen’s Gambit’

The chill of Edinburgh’s ancient streets has a new narrative unfolding as the crime thriller, Dept. Q, makes its global debut. All nine episodes of the gripping series are available for immediate viewing on Netflix. This release marks a significant moment for crime drama aficionados, eager to delve into a world crafted by Scott Frank, the acclaimed creator of The Queen’s Gambit and Godless.

At the heart of this dark and atmospheric procedural is Matthew Goode, who takes on the role of the “brash, but brilliant” Detective Chief Inspector Carl Mørck. The series draws inspiration from Jussi Adler-Olsen’s internationally bestselling Danish “Department Q” novels, promising a rich tapestry of suspense and character-driven storytelling. The series combines Frank’s celebrated directorial and screenwriting prowess, Goode’s compelling on-screen presence, the immense popularity of Adler-Olsen’s source material, and the vast visibility of Netflix’s global platform. Frank’s previous successes with Netflix have conditioned audiences to expect high-caliber productions, and Goode, a respected and versatile actor, is already generating buzz for his transformative portrayal of a deeply tormented detective. The existing fanbase of the “Department Q” novels, coupled with the critical acclaim of previous Danish film adaptations, further amplifies the anticipation surrounding this new interpretation.

The Sinister World of Dept. Q

The series plunges viewers into the troubled life of DCI Carl Mørck. Once a top-tier detective, Mørck is now a man “haunted by guilt” following a horrific shootout that killed a colleague and left his partner, DCI James Hardy, paralyzed. This traumatic event serves as the catalyst for his professional and personal unraveling. As the official Netflix synopsis reveals: “DCI Carl Mørck is a brilliant cop but a terrible colleague. His razor-sharp sarcasm hasn’t won him any friends in the Edinburgh police force.”

His fall from grace culminates in an exile to “Department Q,” a newly established and woefully under-resourced cold case unit, relegated to the dusty basement of Edinburgh’s police headquarters. This department is, in essence, a “publicity stunt,” conceived to divert public attention from the systemic failures and budget shortages of a police force eager to sideline the difficult and cynical Mørck. The department is a PR stunt, to distract the public from the failures of an under-resourced and decaying police force that is glad to be rid of him.

However, what begins as a bureaucratic dumping ground unexpectedly transforms into something more potent. But more by accident than design, Carl begins to assemble a motley crew of underdogs and outcasts who have everything to prove. The narrative truly ignites when “the stone-cold trail of a prominent official who vanished several years ago begins to heat up.” This central case, involving the disappearance of a high-profile politician named Merritt Lingard (played by Chloe Pirrie), mirrors the plot of The Keeper of Lost Causes (original Danish title: Kvinden i buret), the first novel in Adler-Olsen’s series, strongly suggesting this is the primary focus for the inaugural season. This reopened investigation forces Mørck to re-engage with his dormant investigative talents, pushing him to once again “rattle cages and refuse to take no for an answer.”

Dept. Q delves into Mørck’s personal demons and pervasive guilt, forming a central pillar of the narrative. The grim nature of cold cases provides fertile ground for exploring paths to redemption, not just for Mørck but for his fledgling team of “misfits.” The series also casts a critical eye on the institutional failings within an “under-resourced and decaying police force,” highlighting the often-frustrating realities of police work. The department’s very setting, confined to the basement, becomes a potent symbol. Initially representing Mørck’s professional and personal nadir, a place where the institution attempts to bury its problems and inconvenient personnel, it paradoxically transforms. This isolation, away from the daily hustle and political machinations of the upper floors, allows for a unique space where “real police work can actually happen,” fostering an unconventional yet surprisingly effective unit dedicated to unearthing long-buried truths. It’s an “exile with benefits,” where those discarded by the system find a new, albeit unorthodox, purpose.

Dept. Q – Netflix

The Cast

Leading the charge into Edinburgh’s forgotten crimes is Matthew Goode as DCI Carl Mørck. Described as “brash, but brilliant,” “fiery yet witty,” and “emotionally scarred,” Mørck is a man defined by his trauma and abrasive exterior. His “razor-sharp sarcasm” has alienated him from his colleagues. Scott Frank, who wrote the role specifically with Goode in mind, saw in him an actor who could convey “an undeniable intelligence with his toughness, but who could also be emotional without being sentimental.” Goode, often recognized for more dapper characters, undergoes a significant “raw transformation” for this role, shedding his polished persona for something “gritty and uncomfortable.” Adding another layer to Mørck’s outsider status is his Englishness within the Scottish setting, a deliberate choice by Frank to amplify his alienation, stemming from a bitter divorce with a Scottish ex-wife.

Mørck isn’t alone in the basement. He gradually assembles an “awkward but effective team,” a group of individuals who are themselves outsiders:

Alexej Manvelov as Akram Salim: The series’ counterpart to the novels’ indispensable Assad, Salim is a Syrian police officer who, after fleeing to Europe, becomes an integral, loyal, and quietly mysterious partner to Mørck. His past is not entirely clear, adding to his compelling presence.

Leah Byrne as DC Rose Dickson: A sharp, no-nonsense, and determined young detective. Having experienced a nervous breakdown, she seeks redemption and a chance to prove herself within Department Q, refusing to let Mørck’s difficult demeanor go unchallenged.

Kelly Macdonald as Dr. Rachel Irving: A perceptive and quick-witted police therapist tasked with evaluating officers for frontline duty. She quickly sees through Mørck’s defenses, understanding his trauma and superiority complex, and they develop a significant connection throughout the series.

Chloe Pirrie as Merritt Lingard: A “ruthless and ambitious prosecutor” with a troubled past. Her path intersects with Mørck’s when her years-old disappearance becomes the first major cold case for Department Q, making her the central victim whose fate the team must uncover.

Other key figures populating this world include Jamie Sives as DCI James Hardy, Mørck’s former partner whose paralysis haunts Carl; Mark Bonnar as the authoritative Lord Advocate Stephen Burns; Kate Dickie as Detective Chief Superintendent Moira Jacobson, the superior who strategically places Mørck in the basement office; and Shirley Henderson as Claire Marsh.

The dynamic among these “underdogs and outcasts” and “misfits and rebels” who “have everything to prove” evolves into a gritty reinvention of the “found family” trope. While far from warm or sentimental, their shared banishment and the demanding nature of their work forge an undeniable and unconventional bond, providing an emotional core that goes beyond the procedural elements of crime-solving.

From Danish Bestseller to Scotland’s Mean Streets: The Art of Adaptation

Dept. Q originates from Danish author Jussi Adler-Olsen’s internationally acclaimed “Department Q” (Afdeling Q) series, a collection of ten novels (with an eleventh recently published in Danish) that have captivated readers worldwide. The first novel, Kvinden i buret (2007), known in English as Mercy or The Keeper of Lost Causes (2011), lays the groundwork for Mørck’s character and the cold case unit, focusing on the disappearance of politician Merete Lynggaard, a plot mirrored in the series with Merritt Lingard. These novels have already seen success through a series of Danish film adaptations, attesting to their potent cinematic quality.

A pivotal creative decision for the Netflix series was Scott Frank’s transposition of the setting from Copenhagen, Denmark, to the atmospheric streets of Edinburgh, Scotland. Frank explained his reasoning. He perceived that adapting Danish crime fiction for a global English-speaking audience necessitated more than mere translation; it required a “cultural transformation.” The city’s “Gothic grandeur,” its “medieval alleyways and Georgian terraces offer the perfect backdrop for this brand of Gothic crime fiction,” replacing Nordic gloom with a distinct Scottish melancholy.

This adaptation is clearly intended as a reinterpretation, not simply a relocation. Frank’s two-decade-long interest in the project signals a deep commitment to the source material, balanced with a clear artistic vision. The choice of Edinburgh was deliberate, aiming to tap into a unique, brooding atmosphere distinct from traditional Scandinavian noir. The involvement of a multicultural writing team, including Scottish writers like Stephen Greenhorn alongside Frank and Chandni Lakhani, ensures this new vision is rooted in cultural authenticity, achieving a “cultural translation without betrayal.” The series, therefore, aims to offer a fresh perspective, a hybrid that can appeal to both loyal fans of Adler-Olsen’s work and newcomers drawn to compelling crime drama.

The Scott Frank Touch

Scott Frank is the driving force behind Dept. Q, serving as creator, executive producer, and writer or co-writer for all nine episodes. He also directed six of these episodes, including the crucial first two, ensuring a cohesive and singular vision from the outset. Frank’s pedigree is undeniable, with critically acclaimed Netflix projects like The Queen’s Gambit and Godless to his name, alongside lauded screenwriting credits for films such as Logan and Minority Report. This track record alone has generated considerable anticipation for Dept. Q.

This project is a long-held passion for Frank, who had been “mulling over an adaptation of Adler-Olsen’s works for several years,” even as far back as two decades. His commitment was solidified when he met Jussi Adler-Olsen during the filming of A Walk Among the Tombstones in 2014, at which point the author personally entrusted him with bringing Department Q to the screen in English.

Frank assembled a formidable writing team, collaborating with Chandni Lakhani (known for her work on Black Mirror), Scottish writer Stephen Greenhorn (River City, Doctor Who), and Colette Kane. This “multicultural Netflix writing team” was designed to fuse Lakhani’s knack for psychological complexity with Greenhorn’s Scottish local authenticity and Kane’s insights into British institutional dynamics, creating a narrative that is both internationally resonant and deeply rooted in its setting.

At the core of Frank’s narrative philosophy is a “character-centric approach,” with a keen focus on “how damaged people navigate impossible circumstances.” His aim with Dept. Q is to deliver a “psychologically brutal crime drama” that unflinchingly explores “institutional corruption.” This “Scott Frank Effect”—his ability to take genre material and elevate it with profound characterization, striking visual style, and thematic depth—suggests that Dept. Q will transcend the conventions of a standard police procedural. His deep personal investment and hands-on creative control promise a meticulously crafted and thought-provoking series.

Where to Watch “Dept. Q”

Netflix

Losmen Bu Broto: The Series Premieres Today on Netflix, Inviting a New Generation to Indonesia’s Beloved Guesthouse

“Losmen Bu Broto: The Series” makes its global debut on Netflix today. This original Indonesian miniseries is set to captivate audiences by expanding the cherished narrative of the Broto family and their iconic guesthouse, a story that has resonated with Indonesians for decades.

The series continues to explore the intricate dynamics of family, heritage, and the daily rhythms involved in managing a beloved guesthouse nestled in the culturally rich city of Yogyakarta, Indonesia. This new chapter, however, sharpens its focus on the younger generation of the Broto family, promising an intimate look at the complex and often heart-wrenching challenges they face.

An Iconic 80s Series in Indonesia

The narrative’s origins trace back to the iconic “Losmen,” a television series that aired on the national public network TVRI in the 1980s. Created by Tatiek Maliyati and Wahyu Sihombing, “Losmen” became a beloved family drama, capturing the nation’s imagination with its portrayal of life within a traditional Javanese guesthouse.

Decades later, the Broto family was reintroduced to a new generation through the 2021 feature film, “Losmen Bu Broto.” Directed by Ifa Isfansyah and Eddie Cahyono, the film was a critical and popular success, earning multiple accolades, including Best Supporting Actress for Putri Marino at the 2022 Indonesian Film Festival, and praise for its heartwarming narrative.

The new Netflix series is positioned as a direct continuation, picking up where the film left off. This is not a remake but a deliberate expansion, designed to delve deeper into the lives and conflicts of the Broto family.

This journey—from a 1980s state television classic, through a successful cinematic revival, to a global Netflix miniseries—vividly illustrates the dynamic evolution of the Indonesian media landscape. The progression reflects not only the changing ways audiences consume content but also the growing international recognition and appetite for authentic Indonesian creative properties. What began as a national favorite on TVRI has now found a platform with worldwide reach, signaling a new era for Indonesian storytelling on the global stage.

The enduring appeal of the “Losmen” concept, adaptable across these different generations and mediums, speaks to the universality of its core themes. The original series was celebrated for its depiction of a “famous family bed and breakfast,” and the 2021 film translated these themes of family, community, and cultural identity for a contemporary audience, earning praise for its warmth and emotional resonance.

Losmen Bu Broto

Charting a New Course in Yogyakarta

While “Losmen Bu Broto: The Series” continues to revolve around the Broto family’s management of their beloved guesthouse in Yogyakarta, this new installment places an intensified focus on the personal struggles and romantic entanglements of its characters, particularly the family’s youngest son, Tarjo.

The central narrative thread follows Tarjo, played by Baskara Mahendra. He is depicted as feeling “overlooked” and is driven by a desire to “prove his worth at the family inn in Yogyakarta.” However, his forbidden love for an important, married guest puts everything to the test.

This “forbidden love” introduces a significant new conflict, with Tarjo becoming romantically involved with this new character, touching upon themes of age differences and the nuances of Indonesian culture.

Beyond this central romance, the series explores broader themes pertinent to contemporary family life: intergenerational dynamics, the delicate balance between tradition and modernity, the complexities inherent in running a family business, the clash between individual desires and familial expectations, and the universal search for personal identity. All these narrative threads will unfold against the rich and vibrant cultural backdrop of Yogyakarta.

Familiar Faces, New Dynamics, and Notable Absences

At the heart of “Losmen Bu Broto: The Series” are the figures of Pak Broto and Bu Broto, with Mathias Muchus and Maudy Koesnaedi reprising their roles from the 2021 film. Their return provides a crucial thread of continuity, anchoring the family narrative. For Muchus, this connection runs even deeper, as he famously played the character of Tarjo in the original 1980s “Losmen” series, creating a unique bridge across the intellectual property’s history.

The series, however, shifts its primary focus to the younger generation. Baskara Mahendra takes on the pivotal role of Mas Tarjo, the youngest son whose emotional journey forms the core of this new chapter. Joining him in significant roles are Ayushita Nugraha, Wulan Guritno, and Sisca Saras, alongside Febby Rastanty, Marthino Lio (reprising his film role as Jarot), Indra Birowo, and Erick Estrada. Their characters are expected to be integral to the unfolding drama within and around the losmen.

A notable point of discussion for viewers familiar with the 2021 film will be the absence of Maudy Ayunda, who played Jeng Sri, and Putri Marino, who portrayed Mbak Pur. Both actresses delivered memorable performances in the movie. Kompas.com has addressed this directly, featuring articles with headlines such as: “Maudy Ayunda and Putri Marino Not in Losmen Bu Broto Series, Producer Explains.” Producer Robert Ronny offered insight into this decision, stating, “When we obtained the rights to this IP, we spent years developing character arcs and story continuity for the series. For now, the focus is on Tarjo’s character.” Producer Andi Boediman also shared with Kompas.com that the idea for the series and its new narrative challenges began to form during discussions on the film’s promotional tour.

This deliberate refocusing on the children’s roles, particularly the shift away from the film’s prominent sibling dynamics involving Jeng Sri and Mbak Pur, is a significant creative choice.

Mathias Muchus’s enduring involvement is particularly symbolic. His transition from playing the young Tarjo in the 1980s to portraying the patriarch Pak Broto in the modern film and now the series creates a powerful, almost meta-narrative bridge across the generations of the “Losmen” story. He beautifully embodies the evolution of the IP and the cyclical nature of family sagas.

Behind the Scenes of the Miniseries

The task of bringing this new installment of the “Losmen Bu Broto: The Series” saga to the screen falls to Paragon Pictures, the production house also behind the successful 2021 film. Their continued involvement suggests a commitment to maintaining a certain level of production quality and a deep understanding of the IP’s essence.

In terms of creative leadership, the series benefits from a blend of familiar and new talent. Ifa Isfansyah, who co-directed the 2021 film, returns to direct the series, this time sharing duties with Arwin Tri Wardhana. The screenplay is penned by Alim Sudio, who also co-wrote the film, in collaboration with Titien Wattimena. This combination of returning creative minds, who understand the established tone and characters, with new collaborators suggests a deliberate strategy. Their aim is to preserve the core essence of “Losmen Bu Broto: The Series” that audiences love, while also infusing fresh creative energy and perspectives tailored to the demands of an episodic series format, which differs significantly from the pacing and structure of a feature film.

Authenticity remains a cornerstone of the production. The series is filmed in the Indonesian language and is set, like its predecessors, in the culturally rich city of Yogyakarta. This commitment to an authentic Indonesian voice and setting is crucial to its identity. The nuanced use of Javanese-Indonesian accents, which was a point of praise for the 2021 film, is likely to continue, further enriching the viewing experience.

The Netflix Glocal Formula: Blending Local with Universal Themes

For those who appreciated the 2021 film or hold a nostalgic affection for the original 1980s TV show, the series promises a welcome return. The familiar comfort of Pak and Bu Broto’s presence and the enduring charm of the losmen setting will undoubtedly resonate.

For international audiences, this series serves as an engaging and accessible gateway to contemporary Indonesian drama. As Netflix continues its push to showcase diverse Indonesian stories, “Losmen Bu Broto: The Series” offers a narrative rich in cultural nuances yet grounded in universal themes of family, love, and personal growth. The critical acclaim for the film’s warmth and cultural authenticity suggests the series will carry forward this appealing quality.

Viewers who appreciate character-driven family sagas and emotionally resonant dramas will find much to connect with. The series’ focus on intergenerational relationships, individual struggles for identity, and the complexities of romantic entanglements places it firmly within this beloved genre.

“Losmen Bu Broto: The Series” artfully attempts to blend nostalgia with modernity. It balances the established warmth of a cherished legacy with fresh, contemporary conflicts, particularly through Tarjo’s storyline. This duality makes it relevant and appealing to a wide audience, bridging generational tastes.

Furthermore, the series offers a genuine opportunity for cultural immersion. The vibrant setting of Yogyakarta is more than just a picturesque backdrop; it’s an integral character in the story, providing viewers with a glimpse into Indonesian life, traditions, and aesthetics.

Ultimately, “Losmen Bu Broto: The Series” seems poised to capitalize on the “comfort watch” phenomenon—offering the warmth and familiarity associated with the “Losmen” name (akin to “soul-warming home cooking”)—while also delivering enough dramatic intrigue through new storylines like Tarjo’s “forbidden love” to keep viewers deeply engaged. This careful blend of the familiar and the novel has proven a successful formula for many family-oriented dramas on streaming platforms.

This premiere offers a fresh opportunity to engage with a beloved Indonesian narrative, reimagined and expanded for a new era. Whether a lifelong fan or a newcomer to the world of Losmen Bu Broto, the series invites viewers to immerse themselves in a story of family, love, and the enduring spirit of a Yogyakarta guesthouse.

Where to Watch “Losmen Bu Broto: The Series”

Netflix