At 12:30 on IST, September 3, everyone looks frantic to update their Netflix website or app. Looking for a jumpsuit and Salvador Dali’s iconic red mask. That heralds the arrival of the new and final season of the marked La Casa De Papel. More famous like money robbery.
A quick recap about the series
The fourth season in the crime series leaves us on a disappointing climb in what seems to be a relentless habit of Money Theft writers. Former inspector Alicia Sierra (Naiva Nimri) breaks into the professor’s (Álvaro Morte) hideout and restrains him with a gun. The armed forces are now ready to invade the Royal Mint of Spain.
Leading in the fifth section, Sierra has every opportunity in her favour. As she either plays a dangerous game or uses the professor as a spokesperson to control her crew or hangs her in chains in the sewer. At the bank, meanwhile, Arturo (Enrique Arce), Denver (Jaime Lorente) and seething Stockholm (Esther Acebo) plan to take over in a violent coup. Outwardly, an angry Colonel Luis Tamayo (Fernando Cayo) takes on a bureaucratic role, too happy to look good.
The new legacy which takes it on:
As the previous chapter escalated to a fifth chapter. The actors and creators of lex Pina set out to master new challenges.
Sierra, removed from her position as the fourth cover page. It is out, and Nimri clenched a well-deserved fist at his portrayal of the unsympathetic and vengeful cop. Sierra is one of my new favourite characters in parts three and four. Because she now takes a more rugged approach to make life difficult for the professor.
Corbero continues to offer more Tokyo to enjoy. While we all respect Tokyo for her maintained anger. We maintain our love for Silene (her real name) as more of her story unfolds. Pausing these scenes can disappoint or soothe the audience, but they add a welcoming dimension to Tokyo.
The whole episode is about Tokyo’s past pisses me off because we know very well what that means in the television world. Tokyo is still an asshole, as we see how he relates to the sadistic Gandhi (Jose Manuel Poga) who murdered Nairobi (Alba Flores); his revenge on her made me smile through sorrowful tears.
The yin-yang nature of the professor’s restraint. Most evident when Sierra shoots him in the leg, and he shivers. And low levels of aggression make him one of the most extraordinary people on television. Everything in his personality makes him strive for success. While the professor aims to embody control, Morte also embodies an exciting battle between game patrons and planners.
One of the essential rainbows in the series is the transgender woman Julia (Belen Cuesta):
His journey from a boy to a small town to reconnect with his previously unacceptable father. Julia does her best to protect her loved ones. Whether to reassure Denver during the attack or to tell Stockholm. What it means to be a loving parent. At the same time, the Tokyo is the unreliable narrator of the series. Julia is the voice of the love and the reason. It allowed him to work even in the most hostile times without seeming forced.
I didn’t last long in Stockholm. She started as a surprising mistress to Arturo. Who seemed to fit the city’s name when she fells in love with Denver and became part of the crew. I can’t see anything beyond their original state. But a fifth of Money Heist digs deep into Stockholm’s emotional challenges as a new mother who must protect her crew from her child’s father. Her battle with Arturo left her with guilt and a lot of post-traumatic stress, and Esther Acebo is pushing the envelope here to ensure Stockholm leaves her mark on the audience.
The fifth part of the slalom between a robbery and a terminally ill and newly married Berlin (Pedro Alonso) recruits his son Rafael (Patrick Criado), a cybersecurity expert. The 31-year-old Massachusetts Institute of Technology scholar is unwittingly involved in his father’s life. It may be a staunch opponent of Berlin, but audiences might say that Raphael craved his father’s love and approval. It may seem convenient.
But Berlin, as we all know, still shines with its sociopathic tendencies.
The fifth part of Money Heist responds to the urgency through a series of exciting battles seeing a combination of Krav Maga and street style combat. The series doesn’t skimp on these skilful fight scenes from start to finish, and they’re so fascinating that audiences may feel hurt by their favourite bank robber.
In five episodes, Pina stages the fifth part in the haste of a director who doesn’t want to waste time on decoration, which has nothing to do with the core of the series. The central relationship in Money Heist is far from schematic, quickly exploring platonic friendships, unrequited love, previous romances, and stubborn breakups.
Pina is an excellent example of a director and producer who recognizes her talent and cares for every scene. No matter how micro it feels – to count, be it military leader Sagasta (Jose Manuel Seda), who makes Gandia look like a puppy. Charismatic Palermo (Rodrigo de la Serna) is still entirely out of control, or cute Rio (Miguel Wonder).
It’s rare for a show like that where nearly every character leaves an imprint on the audience, and Money Heist does it with spades. Part 5, Volume 1, will have you glued to the screen with your heart in your throat, feeling very worried as you wait until December 5 for the second volume to end the series. If, like me, you’ve watched Volume 1 all at once. You’ll probably watch it again while saying “To Nairobi!” shout.