After “Until we meet again”, directed by Bruno Ascenzo, released its first trailer, the criticism was to be expected, especially after seeing how it became the subject of memes on social networks. While the released clip is supposed to be just a teaser, the truth is that the final cut was just extra shots as the entire plot was spoiled.
In principle, the story of this first Peruvian production exclusively for Netflix brings us closer to Salvador (Maxi Iglesias), a Spanish architect who has come to our country to start with the construction plans for one of the most ambitious hotels in Latin America, which will be held in Cusco.
This is how, upon his arrival at the Inca citadel and after a misfortune with the door of his Airbnb, he enters the hotel of Lichi (Wendy Ramos), where he meets Ariana, niece of the owner of the place and with whom he begins an adventure of comings and goings from the first moment they saw each other.
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In favor
“Until we meet again”, despite being a Tondero film, is a feature film that is different from the production company’s previous proposals.
It is appreciated that the protagonists are not the same actors as always and that the profanities do not sound at the end of each sentence. In fact, this last one is one of the points that one notices almost as a permanent relief.
For some reason, Peruvian comedy films, and especially those that have the stamp of the aforementioned studio, tend to include words of this type so many times that they seem filler words, as if that will add the ‘punchline’ that is said to amaze the viewer. . Fake! It is painful, uncomfortable and even overreacted to include them without excuse.
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On the other hand, “Until we meet again”, without a doubt, enjoys an enriching aspect and one of the most outstanding: its photography.
Clearly, jokes or comic situations are not the strong point of this Netflix film, but there are sparks of “genius” that have their own name: Wendy Ramos. The presence of the actress brings lights where the story is overshadowed by itself, which happens very often.
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Problems and more problems
Although the photography of “Until we meet again” is its biggest positive point (and almost the only good thing), this is also its Achilles heel. Yes, it looks like a tourist commercial almost two hours long. In addition, it gives the feeling that it is built for a target that is not the local.
In that sense, panoramic shots, the fact that Puno is shown only to include cameos of characters that are unnecessary and that only supports the cliché of coincidences in the plot, is just proof that comparisons with a PROMPerú commercial they are justified.
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In addition, Cusco is one of the most visited places in the country. So, putting the protagonists in a Machu Picchu without a soul is a joke.
As for the distribution, the situation is questionable. As expected, we have two of the Pataclaun in the cast, albeit in supporting roles.
Could they have chosen other actors? Yes. Was it necessary? Not at all. The point of casting famous faces is part of ensuring a certain number of fans as viewers, so it’s not uncommon to see the same ones all the time.
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“Until we meet again” is bad?
The truth is, no. Movies in general aren’t bad, they just meet different needs for different groups of people. The big problem with “Until we meet again” is not its unfunny script, the poor construction of its characters, or the lack of a common thread that can be transferred to reality (like 99.9% of those of the genre), but it is the public.
Tondero is mainly known for the “Asu mare” saga (whose fourth installment is already underway); “Crazy in love” 1, 2 and 3; “The great lion”; “Seven seeds”, among other productions that, despite their good performance at the box office, are usually associated with what is normally described as the ‘decadence of Peruvian cinema’.
So, to put a spin on ‘tell me who you hang out with and I’ll tell you who you are’, we shouldn’t expect the production company to offer us Oscar-worthy feature films. They are not originals, much less well-made copies. They are cliches and very basic. But the box office rules and companies need a return on investment and a lot of profit.
Even so, the balance finds its ‘balance’ in that Tondero not only makes films, but also distributes third-party material. This is how we had the acclaimed “Retablo” in theaters.
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Of course, priorities are what attract attention. Recently, “Teloneras” was removed from the billboard, after a few days of exhibition in some cinemas and at times that were not very favorable for its producers. This is what leads many to question why, with an obvious answer, but confusing at the same time.
It’s easy to predict that the audience’s greatest outrage with “Until We Meet Again” is the decision to use a millionaire budget to make a romantic movie with so many ‘no’s’ in the process.
Probably, many would have wanted a story full of culture and historical memory, that addresses social problems of yesteryear that continue to overwhelm the citizen of today. However, it is very likely that the users who have thrown so much ‘hate’ at the title are those who do not appreciate ‘good’ Peruvian cinema when it exists.
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In short, “Until we meet again” is guilty of many things: it includes scenes without context, it does not have outstanding performances, it abuses coincidences to carry a bland and very standard soap opera plot, among other things.
However, it is one of the typical films that Netflix usually releases for its own content with no other intention than to add more projects to its catalog. Something radically different could have been done, but it didn’t happen and, after all, Netflix’s first Peruvian film is just for fun.
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