{"id":31766,"date":"2022-10-06T15:05:14","date_gmt":"2022-10-06T14:05:14","guid":{"rendered":"http:\/\/szs.giuseppe-colonna.com\/?post_type=programa&p=31766"},"modified":"2022-10-14T13:17:55","modified_gmt":"2022-10-14T12:17:55","slug":"documentary-in-my-mind","status":"publish","type":"programa","link":"https:\/\/szs.giuseppe-colonna.com\/en\/programa\/documentary-in-my-mind\/","title":{"rendered":"Documentary: ‘In my mind’"},"content":{"rendered":"

Serielizados Fest premieres in Spain the documentary that unveils the mysteries of one of the most enigmatic and influential series of the twentieth century: ‘The Prisoner’.<\/h2>\n

What is a cult series? How long does it have to last and what mark does it have to leave to be considered as such? The Prisoner<\/em><\/strong> (1967-1968) was, above all, an experiment<\/strong>. An experiment that came from the mind of an actor tired of always playing the same role, and who for this occasion would take the reins of creation, in addition to starring in it. An experiment that mixed the espionage thriller with a psychedelic solution set in an unmapped<\/strong> place called The Village, half prison, half “vacation town” of kitsch aesthetics, with the appearance of utopia.<\/p>\n

As Enric Ros excellently defines in his article Patrick McHoogan, el hombre de otro lugar<\/em><\/a>, “The Village is an endearing and disturbing non-place, a Guantanamo disguised as Marina D’Or or, if you prefer, a Disneyland for ex-spies; an allegorical space that looks like a Baudrillardian simulation of “overmodernity”. And trapped in it, a classically cut secret agent who must reach the rabbit hole of this fantasy of “attraction capitalism”. A masterpiece ahead of its time that impregnated incalculably the dystopian series that we constantly devour.<\/p>\n