Model to (dis)arm<\/b><\/p>\n
On December 16, 2020, the documentary series premiered on Netflix in six chapters <\/span>Break everything. The history of rock in Latin America<\/span><\/i>, directed by Picky Talarico and with a script by Nicol\u00e1s Entel. Taking its name from the theme <\/span>break it all<\/span><\/i> by the Uruguayan group Los Shakers, the subtitle promised a lot to fans of the genre. Previous television and film material had addressed some of its edges, almost always from a national perspective or focused on its emblematic figures. The announcement of a visual \u201cstory\u201d presenting a tour of the continental area was extremely attractive.<\/span><\/p>\n If something is appreciated in the first place, it is the commendable compilation of historical film materials. Images of concerts, festivals and recording sessions, many unpublished or rarely seen before, were rescued for the occasion in a work of authentic archaeology. In addition, the almost one hundred interspersed interviews, with musicians of different nationalities and generations, is also a laudable contribution, although the selection criteria raise suspicion. There are honest criteria and reliable memories (special mention for Rub\u00e9n Rada) along with clich\u00e9s and elaborate phraseology to paste on the screen. However, the conjunction of ingredients gave it a well-achieved dramaturgical dynamism, especially if we do not overlook the fact that it is an entertainment product, rather than a rigorous historical thesis.\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n The Argentinian Gustavo A. Santaolalla, in his dual capacity as interviewee and one of the executive producers of the material, works as a sort of guiding thread. If you also take into account that he is a renowned creator and record producer, with an impressive record of service (awards apart), his inclusion is unobjectionable. However, his participation as judge and party is what has prompted a significant number of criticisms of <\/span>Break everything<\/span><\/i>. The continuous verbal and visual references to his "godchildren" (Molotov, Los Prisioneros, Caf\u00e9 Tacvba) exacerbated the spirits, and the networks have been filled with memes, ridicule and denials around his figure.\u00a0\u00a0<\/span><\/p>\n Where the umbrella really gets stuck is in the subtitle of the serial. Sold as \u201cthe history\u201d of rock in Latin America (although Brazil is the great \u2014but not the only\u2014 exclusion) the reality is different. Focused on Mexico and Argentina (rather on their capitals and, if anything, some other large city) with occasional flashes to the scenes of Chile, Uruguay, Peru or Colombia, it ignored the rest of the nations. Although it is a marketing move \u201cto the face\u201d, it would have been more defensible to replace the lapidary article \u201cla\u201d with the modest pronoun \u201cuna\u201d before the word \u201chistory\u201d. <\/span><\/p>\n