Humor, looked at closely, is more of a dramatic affair. kept Edgar Neville that laughter is the language with which intelligent men and women communicate with each other. And Henri Bergson, more serious, maintained that laughter is the most complete and perfect producer of which our evil has been capable. All jokes, he continued, are by definition malicious. White humour, in fact, does not exist, something always stains it: a tear, a gesture of desperation, a drop of blood, even poverty (ask anyone). Berlanga and Bunuel). We laugh for the simple reason that we are naturally spiteful animals. It annoys us that rules are dictated to us and that, furthermore, they are imposed on us by incompetent people. That is basically living in society. And because of all this, we laugh, perhaps to escape from what we are, out of pure resentment.
little faith, of the unclassifiable and great Pepón Montero and Juan Maidagán, You are perfectly aware of the paragraph above. Although they, the directors, have never thought of approaching a text by Bergson (they feel closer to Neville, on the other hand). «The truth», comments Montero, «is that the premise from which we start is always not to disturb. If we hurt someone, we have done it wrong. Next to him, Maidagán, tries to summarize the creed of this strange couple from another angle: «Our way of seeing things is part of the conflict that we all have between how we believe we live and how we really live. We try to show, so to speak, everything that you would never put on Instagram. Our stories are the off of social networks, what you would never share with anyone. And so it is.
The series of 12 chapters at 15 minutes per head and that will premiere next Tuesday on Movistar Plus tells the story in everything that lasts a year (each installment is a month) of the couple who are brought to life by the huge Raúl Cimas and Esperanza Pedreño. He is a security guard (segurata) in a building that would be called official and she is a kindergarten teacher in a kindergarten that would be called ordinary. “It was about reducing the story to a minimum. We imagined the two of us at home after work with nothing to say to each other. “How was your day?” you would ask each other and the answer might be: “Puff“Without more”, says Maidagán and Montero agrees with him because, indeed, he is right. From there, and as difficult as it may seem, the story advances and does so frantically towards those places as childishly universal as, indeed, , recognizable. Everything, from a damp spot on the wall, to a painting by Franco forgotten by someone, going through a lost grandfather, are subjects capable of becoming a kind of urban Odyssey as inconsequential and ridiculous as endearingly ours. It is not black humor, but it leaves a fence; it is not resentment, but it does some damage; it is not sarcasm, but it stings in its proverbial apology for emptiness, for our emptiness. “We are neither so modern to be post-humor nor so general for New Year’s Eve. We are there, ”the two settle.
The directors with feats in their service sheet count as the series Camera Cafe y Just before Christ and movies like those of the tunnel, It was in one of those moments in life when you become unemployed that the idea arose. In order to become aware of the peculiar television animal that we are dealing with, it is worth clarifying that Little Faith runs through the screen in two times. On the one hand, the story of the couple with everything that surrounds them: family, neighborhood, bars, acquaintances and co-workers. And on the other, as if it were a documentary, the protagonists comment on their own adventures to who knows who, to us. They talk about themselves and anyone talks about practically anything. And in this delirious mechanism, everything happens at the same time in front of the camera and, out of the field, on the other side of it. Everything happens in its cruelest pathos and in its most unbridled delirium. He is tragic, pure comic. And backwards.
«they said Monty Python that the most complicated part of a sketch is always the end: the booty where you risk everything and, in the end, you screw up. And for this reason, they decided to make gags without end, “reflects Montero for that of giving (or taking, better) ideas. And in fact, it would seem that the entire series takes place in that space that connoisseurs call in media res. That is to say, in an intermediate space where the stories neither begin nor end, they simply exist, and which calls for both reflection and chaos, delirium and, where appropriate, social criticism. «I remember», Madiagán intervenes now, «that some time ago we devised, partly because there was no money and partly because we found it fun, a zombie movie in which what happened was told by someone to someone. Nothing more happened than that. It was like an action movie with the action narrated.” Well that.