Have you ever had the feeling of watching a movie that is clearly about a certain subject (which is usually at the center of the story), but that, at the same time, is surrounded by two or more parallel themes that give the impression that not only help nothing in the main story, but also seem to even get in the way of the central development? Yes, you’ve definitely experienced that kind of feeling. And it can be experienced again in the long ‘Return‘, new thriller argentine from Netflix which, since its debut, at the end of July, has marked a position in the top 10 of the platform.
After the traumatic episodes in her life, Kite (Luisana Lopilato) moves with his son Tobias (Benjamin Del Cerro) from the south of Argentina north, in search of peace and to leave her past as a police officer behind, isolated on a farm in Humahuaca. However, the mysterious death of Samantha Sosa (Laura Gonzalez), a young woman who worked in the house of the powerful careerswill make Pipa put aside his latent retirement from the Argentine police and start voluntarily investigating the case, at the request of his mother, Alicia (Paulina Garcia). But this investigation will mess with the brothers’ secrets Cross (Achilles Casabellas) and wick (Melane Narvay), and the richest people in the city will not let anyone get involved in their plans…
Filled with clichés that add nothing, the script of ‘Return‘ gives exactly the feeling that someone had an idea and, throughout the project, other people were added and each one of them came with a fetched hint, making the final version of the long one just a mess. Written by Florence Etcheves, Mili Roque Pitt and Alejandro Montiel, the film begins with a party at the Carreras mansion and focuses on the young woman who works there; then we followed an indigenous man being arrested for protesting his right to land; we move on to the protagonist, who appears much later but who, as soon as she appears, begins to lead the plot; we returned to the indigenous struggle; we began to reflect on children’s weapons; we returned to the indigenous struggle; the secrets of rich people revealed; end of the story, with the indigenous agenda totally unimportant in the plot, giving the feeling of having been placed only to serve as an inclusive backdrop.
The most surprising thing is that ‘Return‘ is, in fact, the conclusion of a trilogy of films that no one knew existed. Started in 2018 with ‘lost‘, then in 2020 with the prequel ‘Omen‘, ‘Return‘ debut to complete the cop’s journey Kitebut neither the synopsis nor the platform of Netflix did the favor of reminding us of the connection with the other productions. me huh.
With a story that goes in all directions and very caricatured performances, it’s hard to be positive about the direction of Alejandro Montiel. It is worth the fact that the feature was shot in the north of Argentina – a place commonly overlooked by the audiovisual sector – and show the desert beauties of the region. To make some sense, the viewer is suggested to watch the two previous films – which don’t explain the current story, but make it less bad.