Now it has two meanings. Jakarta, capital of Indonesia, mecca of badminton. AND Jakartaa series created by Diego San José, starring Javier Cámara and Carla Quílez. Since its trailer was released, we knew that Jakartathe series, was not going to have anything to do with Jakarta, the city, or with badminton, even if it used it as an alibi. Starting next Thursday, the date of its premiere on Movistar+, viewers who sit in front of Jakarta They will be able to unravel what they are really going to see in it. So out of respect for you and the series, I’m not going to spoil the trip for you. I will only talk about the starting point.
Joserra is a former professional player who survives as a badminton coach even though he earns his living as a gym teacher. And in that grayness of the third-class sports centers, which smell of reflexes and abandonment, Joserra finds Mar (Quílez), his white blackbird. From there Jakarta It is a story of bland and broken people who turn the goal of victory into their lifeline. The question is whether they cling to it because they truly believe that it will provide them with the relief they need or if deep down they do so because, as a utopia, it allows them to persevere on an infinite horizon. There may be both.
On the —green— path of portraying two characters who aspire to victory at all costs, Jakarta It ends up becoming a detailed map of failure. How often the real challenge is not winning but knowing how to lose. But of course, that’s easy to say if you’ve ever won. Because if you have only lost, that If Kipling’s statement that success and failure are impostors must sound like a consolation prize to you.
We are perhaps facing Javier Cámara’s best performance since talk to herwhich is saying a lot with his career in hand. And also before the consolidation of the fabulous tandem Diego San José and Elena Trapé, main director of the series. I look at the outskirts of Jakartaand I wonder how such talented and professionally successful people have been able to portray defeat with such precision, and I don’t know if it is an extraordinary exercise in intrusion or the definitive demonstration that it is not that they are impostors: in the best of cases, success and failure coexist.
