I have fallen in love with
Berlin
.
From the series, the
spin off
of
La casa de papel
, and also from its protagonist, played by Pedro Alonso.
And I thought it would happen to everyone, because it is natural that a fiction that dissects love arouses passions.
However, the series has received a lot of criticism precisely for that, for not contenting itself with telling the story of a robbery and striving to tell, in the process, several love stories.
However, I believe that the discovery of the proposal is precisely to create a game of mirrors between robbery and love.
After all, hasn't love traditionally been an action of plunder, deception and threat subjected to chance?
It's difficult to know what we're talking about in each of the scenes in this installment.
Neither in love nor in robbery, no matter how well planned, do things turn out the way you wanted.
Generally, they come out worse.
At the very least, not as planned.
The only difference is that robbers trust that their plan will turn out perfectly, while lovers, when they make plans, already know that things will turn out differently.
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The question is: Why when we fall in love do we continue making plans, even though we are aware that they will not come true?
Probably because of the intuition that it is a robbery.
Isn't it said of someone who stole our hearts?
Isn't falling in love ultimately keeping something that is not ours, that is, someone else's heart?
In reality, the metaphor of theft is a sweetening—although equally sinister—of that other metaphor of love that was war: conquest, possession, surrender, surrender, victory, defeat were terms used interchangeably for armed conflicts. and for the arts of love.
But, best of all, what I like most about the series is how it makes the difference between a colossal robbery and just any infatuation.
It is important to emphasize here that all the characters in the band fall in love, not one is saved.
And their stories reflect how the results are more uncertain in love than in robbery.
So, even though they are perpetrating the robbery of the century, it happens that where the protagonists finally risk their lives is in their hearts.
Because, in love, no one ever knows what has happened or how it has happened, much less what will happen;
Because just as a robbery ends in time and space with a benefit or a failure, love is something that continues through infinite ranges of gray.
And those grays are precisely what the series uses to seek new narrative horizons… and love ones.
Because, deep down, the patriarchal subconscious—which can encompass many kinds of love, not just heterosexual love—understands love as a confrontation, whether for existence, possession, or preeminence.
There is a heart, yes, but a heart that is only kindled by victory.
What I like about
Berlin
is the way it flirts with the idea that this is not the only heart we have.
That there are others, willing to accept what is given to them and what is taken away from them.
The risk does not change, but the story does.
What is certain is that in love there is no point in planning: it is simply waiting for us because it is for us.
It looks like a robbery but it's not a robbery, it's perfect.
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