2023-04-16 20:00:06
PRIME VIDEO – ON DEMAND – SERIES
From the start, Cédric Klapisch, 61, has devoted much of his work as a filmmaker to the painting of youth. This side of his filmography culminated in 2002 with the success of The Spanish inn, portrait of a generation liberated by the abolition of Europe’s internal borders, disoriented by the disintegration of the ideals that had guided its predecessors. Succumbing to the advances of the Amazon platform, the filmmaker agreed to give a sequel to the trilogy ofSpanish hotel (which completed Russian dolls et Chinese puzzle), in the form of a series of which he directed the first episode and supervised the writing with Lola Doillon.
As its name suggests, Greek salad has Athens as its center of gravity, the cradle of Europe (as the spectral apparitions of Plato and Aristotle will attest), the first line of defense of Fortress Europe against immigration, a field of social experimentation for the fraction of youth who rejects this isolationism. So much for the political ingredients of the series.
Conflicting good intentions
The time of the first episode, one could almost believe that the rest – the family, the love affairs, the nights of celebration – are only there to season a more serious subject than that of the feature films: Mia (Megan Northam) and Tom (Aliocha Schneider), the couple around whom all the characters gravitate, are sister and brother, they each embody a tendency of generation Z. From the union, now dissolved, of Xavier (Romain Duris) and Wendy ( Kelly Reilly). The first is an introverted rebel, who settled in Athens by making her parents believe that she would study there while she devotes herself entirely to supporting refugees; the second is an enterprising young man who would see himself as an entrepreneur, he is looking for funds for an agro-ecological start-up that he designed with his American girlfriend.
The chances of life, which throughout the eight episodes often bear the authoritarian mark of the screenwriters, cause Tom and Mia to inherit an abandoned building in the center of Athens left to them by their maternal grandfather, a speculator British.
Like one of the secondary characters, Pippo, an indolent Italian (don’t worry, there is also an Italian entirely devoted to her vocation as a lawyer, the clichés cancel each other out) who prepares a Greek salad in its own way, by adding vegetables and cheeses that have no place there, the series overflows with good intentions, often contradictory. They are manifested by the emergence of characters who serve as an effigy of a cause (queers, trans people, refugees) or as foils (the wheeler-dealer lawyer).
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