Desi and Cata owe months of rent, and the cleaning company they work for goes out of business. When they are desperate, they receive a call that they interpret as salvation: to go clean a mansion. The downside is that when they vacuum under the bed in the main room, they find the dead body of a woman. And, since one of them has no papers and the other has always distrusted the police, they prefer to solve the mess they have gotten themselves into while a gang of Russians shoots them on the highway. This is Sin huellas, the new Spanish series that Amazon Prime Video has released this Friday.
It cannot be said that Sin huellas is presented as a work never seen before. Precisely, series about women on the run after bumping into the wrong people, we have seen them not long ago with the final stretch of Red Sky; and the hybridization of costumbrista comedy of Iberian DNA with elements from other genres such as thrillers has been in fashion for some time, with interesting cases such as that Fargo-mesetero called Matadero or Señoras del hampa. But, as in any work of fiction, what is important is not so much the plot as the execution and, in this sense, the production of Zeta Studios has the virtue of not losing sight of comedy, of taking dangerous sequences seriously ( I repeat: without losing sight of comedy) and above all to establish the entire fictional proposal in a specific social perspective.
This makes sense when you see who is behind Sin huellas: Sara Antuña and Carlos de Pando, who a few months ago marveled at ¡García!. And, if in the adaptation of the comic by Santiago García and Luis Bustos they understood the need to reflect a Spain marked by political polarization, a transition that had allowed Francoism to settle in the institutions and the populist drift of the reactionary right, here includes a patina of social reading by having two protagonists who live on the margins: a Mexican woman without papers and another gypsy, emancipated from her family.
This look does not have that almost instructive patina on the part of the current audiovisual, as if the authors gave priority to activism and the social message before surrendering to the story, but rather serves as a tool to build the world and understand the perspective of Desi and Cata, performed by Camila Sodi (Luis Miguel, the series) and Carolina Yuste (Carmen and Lola) with a ease that allows them to hold the reins of the narrative, always in a forward flight.
The scriptwriters do not step on the accelerator as fully as they could at the level of rhythm but the vehicle does not stall either but it is striking, for example, the correct criticism of the protagonists of their boss, who goes home with his car. high-end after leaving them on the street: the system will possibly allow them to receive a pittance or nothing at all because he, played by Borja Luna, will find a way to declare the company insolvent while he maintains his standard of living.
Desi’s difficult situation is also explained both with the authorities, represented here by Silvia Alonso (Until the wedding do us part) and Adrian Grösser (Merlí) because of the neighborhood where she grew up, and with her mother because of her sexuality; and the reality of Cata, who has her daughter on the other side of the Atlantic. After watching three episodes, a shadow of corruption looms: the idea of ??the territory as a farmhouse for politicians and businessmen to share out (and which, from the dramatic thriller, Rapa explores in parallel from Movistar).
What is missing is that, in the same way that Amazon Prime Video optimizes the broadcast of its American productions to lengthen its run (The Rings of Power was broadcast week by week and, for example, Daisy Jones and the Six launches three episodes every Friday), don’t opt ??for a less impulsive release for Without Footprints. Launching the season at once may be the fastest way to burn the content and prevent word of mouth from having its effect for a more than correct comedy, which is the heir to free-to-air television but correcting the usual errors of traditional channels in terms of duration, number of frames, consistency in tone and direction.
