Please note, this text contains spoilers.
Chronicle
After two or three conversations near the coffee machine, we start to doubt. Would we be the only one not to see the qualities of the little girl under the snow, the Spanish thriller that our Netflix profile offers us with a lot of insistence before we yielded, following glowing critics? Would we be bored to the point of not believing this story of a child who has disappeared against the backdrop of a pedophile network, not to be overwhelmed by the pain of Miren, a young journalist traumatized by a wild assault and who will investigate the girl For almost ten years? In short, would we have a stone heart?
Difficult to say, if we believe the little critical turmoil that the broadcast of the series has aroused. In the national, regional and cultural press, the articles devoted to the little girl under the snow are less evaluations in good and due form than decrypts of the success encountered by the series on the platform, which is obviously not Good sign as to the quality of the object in question.
Should we consider that the public is still right and that if the series is a hit, it is because it is really above the lot? If we believe Netflix’s capacities in terms of thriller, no. Between Mindhunter, The Sinner, or more recently black butterflies (co-produced with Arte), even Dahmer in another genre, the platform has largely demonstrated its ability to tie sophisticated thrillers, both in substance and in form, y Understood by playing with the appetite of the public for the gore. The drought with which Mindhunter was canceled after two seasons, for lack of hearing, contrasts with the algorithmic flight of the little girl under the snow, whose proposal is immensely weaker.
On social networks, Internet users have fun raising an inconsistency of the series (a beach presented as that of Malaga, where the series takes place, is actually located dozens kilometers further), but it is especially full of incredibles, and there is no need to be a specialist to note the casualness with which the scenario describes police investigation or even the way journalists work in an editorial staff. Between the burdent fans, her clumsy acolyte, the journalist at Calepin (Milena Smit, seen in Madres Paralelas d’Almodovar) and the editor -in -chief cynical, none of the characters in the series exceeds the status of archetype. Especially since the laudable will to make Miren the heroine of the investigation does not resist the stereotypes imposed by the script: the young woman is determined, but she makes mistakes and manages to impose herself only thanks to The support of a mentor, his journalism teacher. And above all, it experiences excessive (supposedly feminine) compassion towards the victims, who blinds it and prevents it from detaching itself from the file.
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