Hotel Rizhoma: a strong trend, this time with claustrophobic stories

Rizhoma Hotel (Argentina, 2018) / Scenario: Marisa Quiroga and Marcelo Camaño
/ Photography: Mariano Santoro
/ Edition: Germán Tedeschini
/ Music: Pablo Borghi
/ Elenco: Benjamín Rojas, Gimena Accardi, Nicolás Vázquez, Brenda Gandini and artists in rotation
/ Address: Jesús Braceras
/ ideas and general production: Martín Kweller
/ Production: Cablevisión, Telefé and Kuarzo
/ Hours: Fridays, at 23h, by Telefé and the complete season on Cablevisión's Flow and On Demand
/ Our opinion: Well

I love
Encerrados the creation of Benjamín Ávila who has just made a place on Netflix,
The Rizhoma Hotel arrives on television with a dual intent. On the one hand, the demand for the so-called unitary TV model (different stories that take place on the same stage from a common denominator), always exposed to misleading interpretations. On the other hand, a new contribution to the trend already consolidated to add contributions for the production of fiction (an open channel, an independent producer, a pay-TV operator) for its simultaneous broadcast on several platforms, in sections or complete.

On thematic issues,
The Hotel Rizhoma also follows the path of
Attached . We return to find stories that unfold in real time and in claustrophobic environments that confine their characters, lead them to play their extreme impulses and drown them the possibilities of escape, both real and psychological.

The first two episodes featured in Telefé's weekly broadcasts, they also presented another constant: the shadow of badual abuse and the violent submission of women through two links described with several almost unhealthy features . First, between a football player at the twilight of his career and the wife of his representative. Then, through the meeting of a couple who had not been seen for 13 years.

Up to here, seen in
The Rizhoma Hotel takes advantage of some potentialities of the chosen proposal: the temporal economy of the narrative (each story lasts no more than 30 minutes), the magnificent scenographic setting of the boutique hotel d & # Alberto Negrin, the effectiveness of the rest of the technical elements and the full commitment of all its interpreters, among whom Gimena Accardi has excelled so far. In the following episodes many other familiar faces will be added.

From this active contribution, appropriate and dense dramatic climates were constructed. It was not difficult for us to imagine all that the characters conveyed from their troubled interiority. But this attractive atmosphere was much more accurate than the resolution of each episode, as if all efforts were focused on deepening the connection between the characters. So, the moment of the outcome is almost irrelevant.

Supported by good dialogues, the situations are also quite conditioned by a certain theatrical rigidity that a nervous camera can not completely disguise