Love & Anarchy: review of the Swedish series with a sentimental background

Netflix, once again aiming to enhance also authorial products all over the world (not only in America), has decided to host a new Swedish series, Love & Anarchy, capable of revealing numerous strengths at times unexpected.

The work, available among the November Netflix releases, puts it at the center of the scene the internal dynamics of a publishing house, and finds its strength precisely in the moments related to the workplace, showing instead a bit the side in the sentimental ones, as we will discover in the review below.

An innocent game

The protagonist of the Sofie series, a career woman who seems to have everything in life, finds herself in a publishing house to fill the role of consultant in an attempt to save her from the abyss. also aiming to improve the side linked to the promotion via social media of the publishing reality.
Here, however, he meets the young Max, a technician with whom he clashes openly at first and then begins a game of seduction that will lead both characters to develop a very deep bond.
As for the pace of events, the work manages to give its best especially in the first half, through a variety of situations that are all in all satisfactory in which we will see the protagonist navigating between a not so simple working reality and her ever growing harmony with Max.

From an incipit that is both simple and spicy at the same time, the two will begin to experience more and more pleasure in imposing challenges of increasing difficulty on the other, in an escalation that will generate situations that are sometimes inspired and fun.

The series arises as a romantic comedy centered on the clandestine romantic relationship between Sofie and Max, without however forgetting the numerous supporting actors to be the background to the story.
In fact, if the growing harmony between the two is immediately placed as one of the thematic fulcrums of the series, in reality the dynamic of the playful challenge will be a bit too repetitive in the long run.

The same desire to focus on transgression, indulging in quite a few sex scenes of full nudes, results, in the general economy, something superfluous, inserted in a forced way. In fact, the work manages to stand perfectly on its own legs (giving rise to even the funniest moments) just when it decides to move away from sentimental dynamics to focus on the internal events of the publishing house.

Seeing Sofie debating with Max about the too much noise made by the latter with the drill, as well as observing her groped to solve numerous problems related to the purchase of the publishing house by a major streaming major, will lead viewers to identify themselves as much in the protagonist. as in this or that other character, through a structure sometimes inclined to choral. The same game between the two will bring the same characters in situations as hilarious as, especially towards the end, really thorny.

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Generations in comparison

Despite the fact that throughout the second half the work loses some of its polish, the predominant theme of generational conflict remains perhaps the most interesting element of the series. Sofie was in fact hired to try to prevent the bankruptcy of a publishing house with a traditional approach, more than ever intent on preserving quality without however selling itself to the highest bidder. However, this choice is complicated, given also the authors’ little propensity to leave the screens of a traditional story.

During the series we will thus observe at least three generations in comparison, that is that of Max, a precarious eager to be hired on a stable basis, the determined Sofie, mother / wife / career woman not totally satisfied with her love life, as well as the heads of the publishing house, middle-aged people unable to understand fully the changes in the world around them even if sometimes the only ones still able to want to focus a minimum on quality over quantity.

As far as the technical sector is concerned, Love & Anarchy is a product that is all in all pleasant, albeit without marked authorial touches. Too bad for the lack of propensity to show Swedish city environments (as well as rural landscapes) capable, when present on screen, to give a more original touch to the whole.


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