There are works that transcend the frames that contain them, titles that destroy barriers and settle in the popular imagination, perhaps the definitive frontier of all fiction. And it happens with Hailthe last great local bet of netflixDirected by Marc Carnevale and featuring Guillaume Francella. A few days after its premiere, this feature film became an event inside and outside the local market, reaching the first place of non-English language productions on the platform, with 24.2 million hours watched by people from all over the world. world. In addition, the film about a disgraced meteorologist has been placed on Netflix’s Top 10 Movies list in 32 countries, such as Mexico, Brazil, Spain, Peru, Chile, Colombia, Greece, Taiwan. , Israel and, of course, Argentina. .
The good health that this title enjoys goes beyond the mathematical factors that respond to a great actor, a solid story and a great technical demonstration. The reasons can also be traced to an emotional issue: he shows an energy that excites and offers a ray of hope at a time when the COVID pandemic is starting to get over.
Maybe the proposal Hail to have in its apparent simplicity its best seasoning. Miguel Flores (Francella), an egocentric meteorologist who, after failing a forecast, takes refuge in his native Cordoba to reconnect with a lost essence, is a type of protagonist who is not new, but perhaps necessary. Because a title that connects so immediately with the public shows the appetite to rediscover stories that contain a classic spirit, a story with which one can quickly sympathize. And for Carnevale, this is part of the mystery: “When films manage to break the fourth wall, it is because they question the public, who feels identified and recognizes what is being said. And I think that this meteorologist, beyond the exacerbation that the film offers, and that many do not understand, is a character who has entered our lives since childhood, and who touches on an issue that concerns us all : weather. And I also think that something that we live works, it is the phenomenon of cancellation. When you say something politically incorrect, or they post a video of you, or you make a mistake like in this case, you are socially condemned and you have to go into exile.
However, and beyond the local color of the play, Carnevale and the writers Ferdinand Balmayor and Nicolas Giacobone, to offer a story that attracts with its universality, a trait that has allowed viewers around the world to connect with a story set in Argentina. In this regard, the director testifies: “In almost all my films, I do not look for strictly local themes, even if the characters are Argentinian, the themes are universal. The figure of the famous, his fan, the cancellation process, the absent father taken over by obsession and fame, are universal elements. Because you don’t have to be famous to neglect the bond with your child, it can happen to anyone.
You can see the calendar from exactly two years ago, to remember the beginnings of a difficult quarantine. The affections were far away, the future profession was an agonizing enigma, and the planet stopped before the advance of a virus of which there was still much to discover. Normalcy was aging at a rapid pace, as new routines, masks and protocols began to become part of everyday life more on screen and less in person. And although in the universe of Hail The Covid does not exist, Miguel Flores also had to say goodbye to his life. This character must lock himself in a new reality, take the opportunity to reflect on what he has lost, and abandon this urgent life that left no room for the important life, embodied mainly in his daughter and in a return to his roots. , To the earth. “During the pandemic, there were a lot of people who did a huge introspection, they realized a lot of things that were already outdated, that there was a paradigm shift, and that the reality towards which we was going to come back was not the same as the one we left behind, “he tells Carnival. And drawing a parallel between his protagonist and the pandemic, he then adds: “But a lot of people didn’t this profession, many continued to sleep, waiting to go have a beer and thinking that the world was going to be exactly the way they had left him. But Miguel Flores closed in on himself. That helped him to look at himself and realize how far he was from reality”.
The current situation of Argentine cinema appears complex. After two years of audiences not being able (or fearing) to get to a theater, the box office is weak, and while some are celebrating viewers’ gradual reunion with the big screen, others are predicting a tough outlook. for local productions. In this context, Hail seems to suggest that the future is in streaming, allowing Argentinian cinema to conquer different territories, a feat on which Carnevale concludes: “The film is very close, you just have to press a button and watch it, it’s not not the same of getting a ticket and moving to a room Maybe the same would have happened in the cinema, but not like it happened in 24 hours It was a bomb that went off in a day in Argentina and the rest of the world. And I think it’s only possible through streaming, like Netflix. Granizo is the first of five local films already announced by the platform: The wrath of GodAvailable from June 15, Directed by Sebastian Schindelwith Diego Peretti, Juan Minujin and Macarena AchagaIt is based on the novel by Guillaume Martinez The slow death of Luciana B; matrimillasa romantic comedy directed by Sebastien de Caro with Luisana Lopilato and Juan Minujín, whose filming began in March. Lopilato will also star in a new detective story as Pipa Pelari, based on the novels by Florencia Etcheves, who has already wrapped filming and, finally, Ellen knowsadapted from book by Claudia Piñeiro candidate for Bookers International Pricewill be led by Anahi Berneri.
In fiction, Miguel Flores flees the hateful, anonymous voices from the Internet insulting him and asking for his head; out of fiction, users complain that Francella cooks a fern and blame the intonation of certain characters in the story (“We face very big challenges, which go beyond the fact that an actress succeeds or not in the Cordovan accent, because the film has much more important themes”, admits Carnevale).
Time and time again, the universe of Hail and the one who lives outside of it shakes hands unexpectedly, and that is perhaps where the secret of this success lies: in this transfer to reality that made the film, to reflect issues which are not always comfortable. To ask this feature film to be what it is not (a complaint against global warming, a detailed portrait of the city of Cordoba, etc.) is to choose to stay outside a story whose the objective is to bring us to sympathize with Miguel, with Louis (Breastplate of Menahem), and with the tough challenge of looking at yourself through your flaws. Hail betting on this, and its undeniable importance, indicates that as in meteorology, there are unexpected phenomena that come on everyone’s lips.