ISABEL BELLIDO, Diariosur
Tuesday, March 19, 2019, 00:54
The red carpet of the Cervantes Theater was on Sunday to overflow with girls who were looking for Mario Casas with the voice, the look, the arms. «Mario, Mario, Mario!». According to how it was read, it might sound like a moan. The Festival returned to the screaming with the premiere of ‘Instinct’, the ‘erotic thriller’ -so they sell it-, starring Mario Casas. The public of the carpet could be understood as a sample of the ‘target’ that will see the series of eight chapters in Movistar + from May 10. Are they the ones you want to eroticize? And if so, how will he do it?
With several questions -some whose response was unfortunately foreseeable- I went to the cinema to see the first two chapters of ‘Instinct’, but I did not go alone: Isabel Garnelo, doctor of Visual Culture of the Faculty of Communication Sciences of the University of Málaga, and Verónica Ruth Frías, artist and ‘performer’, to analyze what vision of women this series offers that so many women -and also men- will see, which promises to “open the mind” of the viewer and reflect “that there are many people who she lives her sexuality from a place very different from the traditional one », according to Teresa Fernández-Valdés (Bambú Producciones), as well as treating« the sex scenes with elegance », giving them« a modern touch », as Carlos Sedes, its director with Roger Gual.
However, there is not a bit of that in the first two chapters of ‘Instinct’: heteronormativity and perfect bodies continue to dominate in the narrative of a series in which women either become dominated or reproduce stereotypes and patriarchal patterns.
Marco (Mario Casas) is a young and successful businessman who leads a powerful technology company. However, he is also an impenetrable and straight man, with traumas that lead to sexual relations that he keeps in a kind of house of perversions, where everything is allowed and nobody, a priori, knows anyone. Towards the second chapter we realized that the trigger for much of his problems is a woman, a bad mother who left him with his brother, a boy with autism, “a strategy -according to Isabel Garnelo- to give depth to a story that really does not have it ». We know nothing, however, of the father: for now, as Garnelo points out, “all the blame rests again on the character of the mother.”
In his furtive escapades from the first chapters to the mysterious club -where homosexuality, queerness or non-canonical bodies barely appear- he maintains relations with beautiful and thin women in two outstanding scenes. “A man and a woman are what they present to us”, points out Ruth Frías: in the first one he is the one who impetuously takes the initiative with two women with whom he makes a trio, while in the second he hits hard on the butt a woman with her legs spread, her eyes closed and tied to the ‘bondage’, not only with her hand but with a wooden spatula – she also pinches her nipples with viciousness. “I was not selling an erotic thing, I was selling a pain for that girl,” says Ruth Frias, who believes that “Instinct” is, in short, a “porn movie.”
Beyond the mother, we have Barbara (Bruna Cusí), a woman with an important position in Marco’s company, but not as much as Diego (Jon Arias), her partner, who cheats on her with Eva (Silvia Alonso) , a “number one” in the workplace, an aspect that, as pointed out by Garnelo, “the narration would make us credible” if we did not ignore “absolutely”: at the moment its professionalism is not emphasized but “it is sexually active” , since, in addition to sleeping with Diego, she is interested in Mario. In this way, they are already “facing those two women,” says Ruth Frias. On the other hand, Carol (Ingrid García-Jonsson), a therapist at the center where Marco’s brother (Óscar Casas) is admitted, will be “the savior” who manages to make the elusive protagonist fall in love – and it remains to be seen whether, as in Fifty Shades of Gray ‘, will participate in his sexual whims; we hope in that case that at least enjoy-.
The aesthetic, in addition, does not accompany. “There is very little poetry,” says Garnelo, who sees it as a “gross” and “banal” product. “The tone of the narrative is like a fotonovela: that speed, that need to say a series of things but not worry about how,” he continues. “What I could eroticize is the beauty of the image, but I have not found it, then I can not, I do not believe anything anymore, there is no poetry”, ditch. According to Ruth Frias, the series is not erotic, but “is sexualized.” It will eroticize, in any case, “people who are not very demanding on an artistic level,” believes Garnelo, who harbors “a great curiosity to know who can eroticize that camera movement, those images, that formulation of the narrative.” Curiosity and some concern too.