The second season of the series directed by Maria Sole Tognazzi is one of the most successful national fiction products of recent years: mature, ironic, articulated to the right point
There is something elegantly melancholy in the second season of Petra, the crime with Paola Cortellesi, which enters by right among the national fiction products
more successful of the last few years (given due proportions). And a melancholy that passes by unusual choice of an always sulky, fragile and determined Cortellesi, who gives face and soul to even a character more cared for compared to the first season. The series, adaptation
novels by the Catalan writer Alicia Gimnez-Bartlett, who instead of Barcelona offers glimpses of one Genoa multi-faceted, it is mature, articulate, ironic at the right point (Sky Cinema). The character of Petra Delicato (in the original literary Delicado) is on its way to becoming iconic in the panorama of the new Italian female crime; a seemingly cynical woman, at ease in my unhappiness as she points out from the first episode, which she finds in the colleague Antonio Monte (Andrea Pennacchi, now an authentic certainty) the ideal shoulder for overcome trauma And solve cases.
Both singleboth sly, able to disguise one strong sense of humor which turns into empathy (as the educated say). Directed by Maria Sole Tognazzi, the series has its own work on the two protagonists strengthwhile the episode cases – a little discounted in the first season – try to load themselves with greater complexity. In the international Genoa of the ancient port and in that of the most disadvantaged suburbs they alternate stories and events different from each other and linked by thin thread ofunhappiness: From a murder in a comfortable family setting to that of a homeless man, Petra’s style remains the same, of method and intuition. In four episodes like four independent films, Petra a Cattleya product.
October 5, 2022 (change October 5, 2022 | 22:55)
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