‘Welcome to Eden’, already a meaningless Netflix plot

The enormous collective effort involved in making a feature film or TV series deserves respect. Even when it turns out to be as unsuccessful as welcome to eden (since 2022), for which Netflix brought together two opposing filmmakers; the veteran Joaquin Gorrizscreenwriter of Isi/Disi: Love to the Beast (2004) or The Consul of Sodom (2009) and creator of there is someone there (2009-2010), Angel or demon (2011) and trap (2018), and the almost beginner Guillaume Lopez Sanchez.

To begin with, it uses the well-known trick of presenting us with a strange situation in half resolution who needs explanations and jumps back in a big backtrack in order to comply. And, immediately, they add details which want to arouse more our interest; but composition without real strength in its bids it makes these narrative mechanisms of always, so recognizable suffer, and does not capture us in the right way.

There should be no argument that welcome to eden seems aimed at the audience that likes arguments similar to those of Elite (since 2018); with disorders and youthful chaos; and on the other hand, with a few touches reminiscent The fantasy island (1978-1984), the squid game (since 2021) already a milestone on the small screen. Hence, for the first time, his dynamic editing but quite topicalwithout imagination and with a certain insignificance.

‘Welcome to Eden’ Doesn’t Work Due to Its Insurmountable Script Problems


Its audio-visual style matches perfectly with the background not really dramatic depth from welcome to eden; which also uses raw sketches and fixed sentences, and fails to establish a link between the protagonists, whose personality they do not elaborate too much, and the spectators. So we don’t care what happens to them, and the bad guys, who even appear suddenly depending on who, don’t impose themselves at all.

As if these problems weren’t enough, the main premise and story maneuvers on this subject, which also remind us of certain points of lost (2004-2010), they don’t hold Like it should be. Plus, to the surprise of any observant movie buff, even some of the opening scenes remind us of another unforgettable TV drama about the survivors of Oceanic Flight 815; but without the ability or the intention to leave us confused.

To this are added the manipulations, the ways of reacting of certain characters and the ignorance with an incredible inconsistency pure ridiculous; and some violent twists without justification, just because, and irrelevant pending answers to questions about the mystery. And another drawback, which prevents us from conceiving an oppressive bond, is often to divert attention from the scene where the protagonists find themselves.

Unnecessary meanness and sadism


Beyond all that precedes and between arbitrary appearances, superfluous slashes and a cast that holds together, the fundamental rush of welcome to eden lies in this the origin of the dramatic conflict is not plausible. The villainous behavior of the antagonists is not credibly substantiated, much less their unusual sadism. It is not necessary for them to do so, and it does not make the slightest sense. Especially if it is mixed with an ideology flower power chupiguay.

The transitions between scenes with images of the environment, and the passage of the hours sometimes accelerated, are similar to those of season ten of american horror story (since 2011). The closing of the fourth episode rises above the rest of Netflix’s proposal due to Daniel Benmayor’s wise audiovisual decisions; and the climax of the eighth was well mounted by Alberto Gutiérrez. But these virtues they can’t save her from her inconsistencies.