Two worlds.
On the one hand ,
Suzhal
, an Indian series, and more specifically a Tamil one, which places the action in a small town in which a series of myths and legends are recreated, that is to say, its own claim is made.
On the other hand,
The Pact
, a Polish series narrated from Western cinematographic orthodoxy and in which a modern Warsaw is shown where brick is the king of the house without forgetting the, apparently, important presence of Catholicism.
In other words: Wojtyla territory.
Two worlds with a common denominator: to entertain the audience, something that both series achieve and, probably, with greater success, the exotic
Suzhal
(Amazon Prime Video), in its eight chapters.
Advantages of contemplating the unusual rituals for the Western gaze, even though the main plot is a
thriller
.
As is the plot of the first season of
The Pact
(HBO Max), a series that in turn is a
remake
of the Norwegian series
Mammon .
or what is the same, audiovisual globalization is a verifiable fact.
And if trade unionism occupies an essential place in the Tamil series, journalism occupies it in the Polish series, two worlds not necessarily opposed and not always complementary, with an addition typical of pan-Europeanism: corruption, that concept that the heartless confuse with intelligence and that Scott Fitzgerald sentenced in one sentence: "I hate that the richest take the most beautiful".
Two ways of seeking the fidelity of those who sit on the sofa in the living room, two worlds in which the particular and the general confirm Thomas de Quincey's title:
On Murder Considered as One of the Fine Arts
.
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