The enormous collective effort put into producing a feature film or television series is commendable. Even when it turns out to be as unsuccessful as welcome to eden (since 2022), for which Netflix brought together two opposing directors; veteran Joaquin Gorrisscreenwriter Isi/Dizi: Love for the Beast (2004) or Consul of Sodom (2009) and creator Is anybody here (2009-2010), Angel or demon (2011) and trapped (2018), and almost newbie William Lopez Sanchez.
Let’s start with the fact that he uses a well-known trick, presenting us with a strange situation. half resolution who needs an explanation and jump back into the big come back to comply with it. And then they add details that want to further fuel our interest; but a composition with no real power in his auctions it causes these narrative mechanisms, always so recognizable, to suffer and not capture us properly.
There should be no dispute that welcome to eden seems intended for a public that likes arguments like arguments Elite (since 2018); with confusion and youthful chaos; and on the other hand, with a few strokes resembling fantasy island (1978-1984) squid game (since 2021) is already a milestone on the small screen. Therefore, first of all, it dynamic editing, but quite up-to-dateunimaginative and with some insignificance.
“Welcome to Eden” is not working due to insurmountable script issues.
His audiovisual style matches the background perfectly no real dramatic depth from welcome to eden; which also uses rough sketches and formulaic phrases and fails to make any connection between the protagonists, whose identity they don’t reveal too much, and the audience. So we don’t care what happens to them, and the villains who even suddenly appear depending on whom are not imposed at all.
As if these problems weren’t enough the basic premise and maneuvers of history about it, which also remind us of some moments lost (2004-2010), they don’t hold as it should. What’s more, to the surprise of any observant movie buff, even some of the opening scenes remind us of yet another unforgettable television series about the survivors of Oceanic Flight 815; but without the ability or intention to leave us confused.
In addition, there are manipulations, ways of reacting on the part of some characters, and ignorance with surprising discrepancy pure funny; and a few violent twists and turns with no excuse, just like that, and irrelevant while waiting for answers to questions about the mystery. And one more inconvenience that makes it difficult to comprehend the oppressive plot is often to divert the accent from the stage where the main characters are.
Unnecessary villainy and sadism
In addition to all of the above, and between arbitrary occurrences, extra slashes, and cast behavior, the fundamental impulse welcome to eden thing is the origin of the dramatic conflict is implausible. The villainous behavior of the antagonists cannot be authenticated, much less their unusual sadism. They don’t have to behave like that, and there’s no point in doing so. Especially if it’s mixed with ideology. flower power chupiguai.
The transitions between scenes with images of the environment and the passage of hours, sometimes in fast motion, are similar to those of the tenth season. American Horror Story (since 2011). Episode 4’s closure stands above the rest of Netflix’s offering thanks to Daniel Benmajor’s wise audiovisual decisions; and the climax of the eighth was well edited by Alberto Gutiérrez. But these virtues they can’t save her from her inadequacies.
Source: Hiper Textual
