“Until we meet again” enters the list of missed opportunities | CRÍTICA

Great Latin American films have been born from Netflix, but others have also been born as if they were twins. All of them come from the same mold that over time and several failed attempts have lost their grace. “Until we meet again”, the first film by the streaming giant made in the Peru, is a victim of this decadent heritage. However, it has a characteristic that differentiates it from other Latin comedies: this one also acts as a tourist warning. It doesn't make it a better film, but it covers several moments with beautiful shots.

The jumps between the snowfall of Salcantay, Lake Titicaca and the Paracas reserve feel very forced throughout the 96 minutes that the film lasts. The attractiveness of Puneño is perhaps the most unnecessary appearance. It is justified in a fleeting mention by one of the protagonists that gives rise to landscapes that contribute nothing to the story and to the appearance of three national actors who, despite their proven talent, had to settle for supporting roles. The same happens with Amiel Cayo and the rapper Renata Flores whose presence served only one musical scene and another one of a gastronomic nature.

Although with greater prominence than the rest of the local actors, Wendy Ramos repeats a character that we are already used to. The role of unbridled, playful and liberated woman has become a kind of chain from which the actress is not yet released. On the other hand, the performances of Stephanie Cayo and Maxi Iglesias are not terrible, but they are not entirely convincing either. The actors of the film have had to deal with what is the biggest flaw in the whole film: its script. The fact is that the previous works of Bruno Ascenzo already announced the problem mentioned.

IN TROUBLE

The trailer for “Until We Meet Again” announced that it would be a romantic film that would seek to highlight the cultural appeal of Peru; however, what was meant to be a brief preview ended up being the total synthesis of the film. Instead of offering something extra to the viewer, the story was filled with scenes, characters and phrases that could well have been omitted. One soon realizes that these failures exist to satisfy a bank that sponsors the project and to force the presentation of our country as the perfect tourist destination.

The mention of the Paracas culture or the explanation of the meaning of the chacana or Andean cross are just a few examples of this notorious effort to present Peru as a mystical place, full of symbolism and attractions. But the most notorious attempt at exoticization has been the title of the film itself, which several experts in the field have already taken care to highlight. “Tupananchiskama”, translated in the film as “Until we meet again”, is not directly related to the story being told. It's just a phrase that sounds good to the ear; well, in the ear of some.

Perhaps this was not the expected start of the list of productions that Netflix plans to make in our country and that hopefully will spread over time. However, it will help viewers demand that we take into account the range of scriptwriters, directors, actors and actresses that exist in Peru and who have enough experience and credentials to give us a work that is up to what many of us had imagined. Opportunities are won and lost. I hope the next one doesn't end up in the last group like it has happened with this one.

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