If, as Jean-Luc Godard said in one of his clever boutades: “All you need in a movie is a gun and a woman”, Muggers: The Series (Netflix) could be an audiovisual encyclopedia.
Its absolute manager, the French Julien Leclercq, co-writer, producer and director of the same, was also the director of the 2015 feature film Robbers, germ of the series, something that is already beginning to be frequent and that has in Fargo, of the Cohen, an impeccable example.
Already in the first chapter of the six that compose it, violence is the queen of the house: Yanis Zeri’s gang (Hamid Hlioua, co-writer) robs an armored truck carrying a large quantity of gold bars. A technological show that stimulates the already evident hypnotic attraction of the realization of sophisticated robberies. The leader of the group is a kind of anchorite who lives with Spartan habits and who only maintains a link with society: his family. The kidnapping of his niece by a gang of Belgian drug traffickers unleashes the action of the rest of the chapters, an action that leaves the rosary of dawn as a function of the end of the school year. And yet the series is addictive, well done, well photographed, and well acted.
Despite the fact that the series is French, the plot takes place between Antwerp and Brussels, with that usual disinterest in beautiful locations: what matters is violence, action. As the psychiatrist Luis Rojas Marcos pointed out in his day, “the modern equivalent of the circus or the gallows are scenes disseminated by the television industry, destined to represent with the greatest possible realism all the variety of violence between people.”
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