Il Mostro, the Netflix series about the monster of Florence works because it never points the finger – Gamesurf

Yesterday afternoon at home in bed, with the after-effects of a bad flu that hasn’t given me peace for days, I watched the Netflix TV series about the monster of Florence.

I really liked the fact that it turned out to be completely different from what I expected. I have always appreciated how Sollima quoted the greatest cinema directors in his works. So with this TV series I expected it to draw, a little here and a little there, from the sacred monster Fincher and from iconic works like Zodiac. In reality I found myself watching a product that was not in line with the standard Netflix standards. The narrative becomes (very) slow and if you don’t know the broad outline of the facts it’s difficult not to get a little confused. It is not a crime series, the investigative side is put in the background and the focus is more on the historical and social context of the Sardinian track. However, I don’t know if the scenographic reconstruction of the places is correct and faithful to what the Florentine province was like in those years.

The cast choices are excellent, the actors who play the Sardinians are all or almost all from Campidano/Cagliari with credible and non-stereotypical accents, as often happens in Italian films and dramas. The dialogues in Sardinian Campidanese were also well written.

The product is designed to have multiple seasons, in order to calmly and thoroughly develop all the theses of this intricate story. All based on data and investigations of the time.

The only doubt I have is whether a series so slow and far from the average standards that the Netflix audience wants can be successful, at least enough to justify its sequel. It wouldn’t be the first time that for this reason Netflix has closed more particular projects than the usual productions, see Mindhunter.

The series is not free from flaws, far from it, but Sollima did a good job.