Criticism of To wanta four-episode miniseries created on Movistar + that talks about sexual consent in marriage. This is probably one of the best Spanish fictions of the year and should be required reading for everyone. It is not a feminist or political artifact, it is a work that reflects and opens a debate. Nothing here is obvious or emphasized. Alauda Ruiz de Azúawinner of the Goya for best new director for Five little wolves, takes control of a traditional plot, tense and addictive. Nagore Aranburu (Irati, Privacy, Loreak), Pierre Casablanc (B, the movie), Michel Bernardeau (1899, Elite), Ivan Pellicer (Heaven) And Loreto Mauléon (God’s twisted lines, Country) are the main protagonists of an impeccable product. The plot is as direct as it is complex: a woman denounces her husband after 30 years of marriage for sexual abuse. He never attacked her and she never said “no”, so no one believes her, not even her children.
Plot and production data
After 30 years of marriage and two children together, Miren leaves her marital home and denounces her husband for repeated rape. This serious accusation forces children to choose between believing their mother or supporting a father who defends their innocence. A family journey that advances in parallel with the legal journey with the same objective: to know the truth.
To wantthe first television series directed by Alauda Ruiz de Azúa, premiered on Movistar Plus+ on October 17 with the first episode. Every Thursday a new chapter until all four are completed.
The stars of the series Nagore Aranburu (Irati, Privacy, Loreak), Pierre Casablanc (B, the movie), Michel Bernardeau (1899, Elite), Ivan Pellicer (Heaven) And Loreto Mauléon (The twisted lines of God, Fatherland).
Considered today one of the most promising Spanish directors after winning the Goya for Best New Director for Five little wolves (film winner of three Goya prizes), Alauda Ruiz de Azúa signs, with Édouard Sola And Julia de Paz the scripts for the four episodes that make up the series.
An ambiguous truth
See To want It is a sensory and emotional experience like few others have seen in recent times in the Spanish industry. With acting direction based on the most extreme naturalism, Alauda Ruiz de Azúa is a story of silences, the dialogues are narrated and very well written, they convey the truth and do not overload the intentions of the plot.
The best of To want This is the ambiguity of your proposition. He never falls into pamphleteering speech. The camera observes, neither judges nor condemns, it is content to accompany. This is where the game of the spectator lies, who questions his own beliefs. But be careful, Don’t confuse authorship with slow or experimental exercise. Here there is tension (a lot), restlessness and interest in what will happen next.
Even though there are some very difficult scenes to plan in terms of emotions, Ruiz de Azúa is helped by unbeatable actors. Nagore Aranburu does a job beyond superb. His confinement does not prevent him from transmitting a thousand emotions. She is accompanied by a must-have in our industry, Pedro Casablanc, the eternal villain of Spanish cinema who plays here with a character far from clichés. It is his interpretation that constantly makes us doubt what is happening. Is he a ruthless abuser, a victim, or someone incapable of accepting that his life is a constant mistake? For their part, Miguel Bernardeau and Iván Pellicer demonstrate professionalism and talent worthy of applause.
Wanting, here, is not equivalent to loving, but rather to consenting. How will I know what you want if you don’t tell me? Should we always be ready to read between the lines and guess what the other person wants? Are we guilty if we ignore the crime we committed or if we were never taught anything else? To want They are not trying to indoctrinate, they are simply raising questions. That’s what art does.
