This newspaper saw the first episode in which it is anticipated what the series is about: María Marta’s intimate environment, which starts with a tennis game frustrated by the rain, then her meeting with family and friends while they watched the superclásico, later a short bike ride through the country roads to her house, where after turning on the bathtub she was murdered. The story of the crime is combined with that of the two bloggers who, years later, came together to investigate and provide divergent information from that of the media.
The director Goggi told this newspaper: “One puts the prejudice of ‘they stained that scene’ but we wanted to take it as ‘some misfortune just happened’, without evaluation, getting into the drama and that is the difference between the Netflix documentary and fiction. The documentary, with which we dialogue because many people saw it, talks about the time that passed; On the other hand, fiction speaks in the present and one accompanies the characters. Attend to their emotions and then see how the police correlate is put together”.
In relation to this parallelism of dates between the beginning of the trial and the debut of the series, Goggi indicated: “The sentence that the trial will have does not make the series outdated, which works autonomously because those people were called to testify and that it will not vary. It would be good for the trial to conclude something that does not happen in the series, because that trial had no conclusion.
The series is built through time jumps: it begins in 2002, the day of the crime, and goes forward through milestones in history, and jumps to 2011 when the two bloggers came together to spread an alternative reality to the one that was built in the media.
The author, Martin Mendez, indicated: “You had to be precise in how to come and go in time, not in a capricious way but with the contribution of novelty in the story. I included the bloggers because they allow the viewer to be taken to the intimacy of the links, in addition to the judicial tragedy and the investigation. In that story are the adventures and a kind of ‘buddy movie’ that allows you to breathe so much sordidness, darkness and pain”.
Carlos Belloso he was the first to mention the famous “pituto”. In this regard, he said: “That phrase was very difficult, it was taking naturally what was later raised as symbolic words. I was going to say ´pituto´ with surprise, and the director emphasized that that word and the phrases that I say later were natural and only in the future did they take on a certain dimension. From that scene in which I mention the pituto, and that we flushed it down the toilet, I felt that we did not work for the camera but that the camera sought the performance in a very theatrical scene, like that tragicomic one in which they pray around the bed with Maria Marta dead.
In that key scene, the relatives choose to move the body, place it on the bed with a pillow to support its lifeless head, cut off its clothes and place a medal on it. That’s when they also find out, not surprisingly, that the masseuse cleaned up the blood from the crime scene.
Laura Nova composes to Mary Martha and she was one of the only ones who spoke with those close to the victim, in order to put together an idea of a character: “When someone alive is incarnated, it is one thing, but I had and have respect for a situation that is still not clear. I needed to see her in action, talk to people who had known her, to be able to take a certain energy and compose alive someone we didn’t know. We have this frozen image, with prejudices, of the classic country woman, who traveled, and I wanted to bring it from another side. I knew that she had a special sensitivity, that she worked for Missing Children, that she had no children, that she was methodical. That filled me up and allowed me to get to the character and think about how to show her dead as well.”
about his work as Carrascosa, Marrale noted: “I wanted to get rid of what I experienced in 2002 and the media bombardment, adjust and learn more about the story from the text. I don’t believe much in mimesis, in going around copying or looking for similar elements; If there is something rich in that character, it is a certain form of immobility, of the unsaid, of the impossibility of connecting with reality in a frank way. He is a character with a lot of secrecy beyond being an accomplice or not. I wanted to stop working, I wanted to travel the world, and I built that from his desire to the brutality of the tragedy. That was the potent thing to deal with. I discovered new things in the story that we were going to tell and I didn’t stay with that mess.
Muriel Santa Ana reflected: “In my blogger character, Belu, you see the possibility of building an autonomous and independent view of the media, without seeking personal gain. She does it alone, without money and later we will see how she relates this titanic task of investigating and systematizing information to her own story. Within such an ambiguous case, fiction sheds light, raises questions, continues to disturb. We see the way of country, the point of view at all times, which is not hegemonic but diverse”.
Regarding the research to write the script, Mendez He concluded: “I spoke with the family, lawyers, prosecutors, for many hours. I needed to have that contact beyond access to files or articles or YouTube or so many hours of TV. In addition to the way of speaking or the dialogue, I needed to converse. What we were doing was whitewashed with the family and sometimes I inquired in unfriendly places. One writes from doubt, from prejudice, and I was able to get a little out of the media story, which is also worked on in the series, as well as what refers to the judicial family.
Source: Ambito
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