I insist, despite my principles or habits, that after a while I give up the things that bore or irritate me to watch the complete series of The Messiah. The first chapters left me with strange feelings, confusion, incomprehension of some things, discomfort with the twists, the sophistication and the cruelty. But the talent of its creators was also transparent. My prejudices associated Javier Ambrossi and Javier Calvo with the moderns. In other words: vacancy, fraud, fashion, nonsense. But although there are many pretentious fools in this universe, there are also very clever, even intelligent people. They are.
There are several moments in “The Messiah” – in its aesthetic conception, in its plot and narrative originality, in its alienated characters – that are filled with first-class tension and unrest. And things that bother me. I manage to get to the last chapter, which feels bad to me. I do not believe that this commune is in the mountain of deeply lost people who, through the consumption of esoteric potions, manage to drive away the alien that has corroded their existence. Nor the pilgrimage to India for the embrace of a healing saint to heal your soul. Nor is the integration of the teenager, who has fled the family cult, into the real world without renunciating her old faith. Nor the transformation of the grotesque and oppressive aunt who taught the children into a model of rationality.
There are people who can’t stand this series and others who love it. Apparently young people identify with her. In any case, it was a very risky production. I’m glad that my friend Domingo Corral and his partners, producers of the excellent Antidisturbios and La Peste, made a complicated bet. And that it brought them so much play and audience. The Javis deserve to be prosecuted. They are a very exotic species. For better and for worse. As always, I only speak about my own taste.
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