MORNING LIST
At the dawn of a confinement period of at least fifteen days, it is more than ever necessary to sort out all the series that the platforms make available to our idle or helpless brains. We’re helping you do that this week, with two productions that are way above the rest – The Plot Against America and season 4 of Better Things –, and a French curiosity on Netflix, Vampires.
“The Plot Against America”: the shortest path between democracy and fascism
Inspired by the novel by Philip Roth who imagined the victory of aviator Charles Lindbergh over Franklin Delano Roosevelt in 1940, the miniseries by David Simon and Ed Burns only need six hours to expose the infinite fragility of a democracy in the face to the demons of withdrawal, authoritarianism and anti-Semitism.
A prodigious political demonstration, The Plot Against America owes its dramatic power to the embodiment of this page of virtual history through the daily life of a New Jersey family, the Levins, who closely resemble that of Philip Roth. Courage mother Zoe Kazan, helpless patriarch Morgan Spector try to withstand the foul tide while John Turturro, rabbi co-opted by the new administration, and Winona Ryder, his partner, who also happens to be Bess Levin’s sister, represent the compromise camp. The richness of the historical reconstruction equals the inventiveness of the story, which makes an ordinary family the seismograph of history on the move. Thomas Sotinel
“The Plot Against America”, series created by David Simon and Ed Burns. With Zoe Kazan, Morgan Spector, Winona Ryder, John Turturro (United States, 2020, 6 × 60 min). On OCS, every Tuesday from March 17th.
“Vampires”: the bad blood of Paname
A new tribe is added to the great people of blood drinkers. This branch is established in the north of Paris, around a matriarch who has the features of Suzanne Clément.
It will take a few episodes to discover the characteristics of these Belleville vampires: some are classic – they cannot stand the light – others more heterodox – their victims do not transform.
These rules of the game weigh heavily on the heroine, Doïna (Oulaya Amamra, discovered in Divine), who no longer supports the in-between in which her mother maintains her. The young girl tries to clear her way towards autonomy, in a universe which mixes with certain happiness the eternal bloody aesthetic of the genre and the fluidity of a modern cinema, inserted in the space of a contemporary city. T. S.
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