Homeland (Aitor Gabilondo, 2020)
It is very difficult to talk about Homeland. In part, because everyone does it with very different and antonymous opinions. More than ever, it is a series to which "put a number" are ridiculous as impossible.
Fernando Aramburu's Homeland arrived to remove waters that not so long ago were very cloudy. La Patria de Aitor Gabilondo has also generated controversy, but that a minimally interesting or risky work does not. The problematic happiness comes from the point of view. The perspective is within the ETA world for which a whitening, an idealization is presupposed. Nothing is further from reality. Because just as there are no demons, there are no angels either. Both countries, that of the book and the series, know how to put themselves in those invaluable gray tones that annoy so much.
As an adaptation, it is reliably developed. Maybe too much. The problem with being so faithful is not to change the resources that work in a novel but not so much in an audiovisual product. It sins of being too literary or theatrical. The tone for some, not for me, can be another problem. It is dramatic by definition and although it tries to get away from melodrama, it gets into it at some point. This is where the Basque character stands out as one of the fundamental pillars of the work. His ways of behavior go against melodramatism so it ends up being suppressed. The setting, the eras and the magnificent performances make it an experience that is breathed and felt at all times.
But we do not stray from the important ones. Homeland is not The anthological history of the Basque Country, it is a more universal history, and ironically much smaller. The concept of motherhood, mourning or, above all, forgiveness applies to any context and that is what Patria is about. The university of the topics that are discussed makes empathy greater. The story focuses on the two families (the ETA and the victim) for the same reason; to bring positions closer. Not separating at any time to talk about something else, in the end, is a brave gesture. Many people (including myself) would have preferred more points of view with a broader view, but the work goes as far as it goes. Here is the confrontation, you can think that the reason for its structure is partisan. I do not agree because the story goes just the opposite, seeking conciliation. There is its end.
I can keep collecting letters a lot more. Because it is the perfect work for me, for personal taste, for theme, for everything. I think that even for people who hate it without having seen it, I recommend it. Because your message is important to all kinds of thoughts; especially in Spain. It is not perfect, far from it, nor does it intend to reinterpret the pages of Aramburu. But it is a necessary work to forgive the past without forgetting it.
It is very difficult to talk about Homeland. In part, because everyone does it with very different and antonymous opinions. More than ever, it is a series to which "put a number" are ridiculous as impossible.
Fernando Aramburu's Homeland arrived to remove waters that not so long ago were very cloudy. La Patria de Aitor Gabilondo has also generated controversy, but that a minimally interesting or risky work does not. The problematic happiness comes from the point of view. The perspective is within the ETA world for which a whitening, an idealization is presupposed. Nothing is further from reality. Because just as there are no demons, there are no angels either. Both countries, that of the book and the series, know how to put themselves in those invaluable gray tones that annoy so much.
As an adaptation, it is reliably developed. Maybe too much. The problem with being so faithful is not to change the resources that work in a novel but not so much in an audiovisual product. It sins of being too literary or theatrical. The tone for some, not for me, can be another problem. It is dramatic by definition and although it tries to get away from melodrama, it gets into it at some point. This is where the Basque character stands out as one of the fundamental pillars of the work. His ways of behavior go against melodramatism so it ends up being suppressed. The setting, the eras and the magnificent performances make it an experience that is breathed and felt at all times.
But we do not stray from the important ones. Homeland is not The anthological history of the Basque Country, it is a more universal history, and ironically much smaller. The concept of motherhood, mourning or, above all, forgiveness applies to any context and that is what Patria is about. The university of the topics that are discussed makes empathy greater. The story focuses on the two families (the ETA and the victim) for the same reason; to bring positions closer. Not separating at any time to talk about something else, in the end, is a brave gesture. Many people (including myself) would have preferred more points of view with a broader view, but the work goes as far as it goes. Here is the confrontation, you can think that the reason for its structure is partisan. I do not agree because the story goes just the opposite, seeking conciliation. There is its end.
I can keep collecting letters a lot more. Because it is the perfect work for me, for personal taste, for theme, for everything. I think that even for people who hate it without having seen it, I recommend it. Because your message is important to all kinds of thoughts; especially in Spain. It is not perfect, far from it, nor does it intend to reinterpret the pages of Aramburu. But it is a necessary work to forgive the past without forgetting it.
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