Fernando González Molina knows how to press the key to success at the box office: ‘Three meters above the sky’ and the ‘Baztán trilogy’ they testify to this. The Navarrese director seemed the right person to take charge of one of the most ambitious series of the year, sold by Movistar as a Spanish-style ‘Stranger Things’. Come on, adventures of kids in a fantastic tone and nostalgia.
‘Paraíso’, whose first two chapters of almost two hours have been seen in Malaga and that today comes to Movistar, takes place in Almanzora de la Vega, a fictional summer town in the Levant in 1992. In the first sequence, a group of seagulls inexplicably crash into a lighthouse; in the second, a poster announces the disappearance of some teenagers from the town. The Goonies meet the Alcàsser girls. The ‘Paradise’ in the title alludes to the abandoned disco in which OBK sounded and in whose basements connected with a cliff seems to reside the key to the mystery.
The series plays without cutting the nostalgia card. The music of Mecano, an obsession recognized by the director, appeals to the spark of our sentimental memory in the same way as a Gameboy or a Karhu raincoat. However, ‘Paraíso’ does not charm because the essential fails: the main gang doesn’t have the slightest charisma.
González Molina floods the footage of ominous eighties synth music that is not interrupted for a second. The low tone prevails. Draw without much sense of humor a Spain of broken families, where Macarena García from the Civil Guard is so implausible as a Chinese inspector from the UCO. Instead of a nice manners fantasy, ‘Paraíso’ is a sorrowful supernatural intrigue.