It’s the 80s Love after lovethe series on fit country that Netflix will premiere this Wednesday 26. “Fabi, I’m falling in love with you”, Fito confesses to Fabiana Cantilo on a roof. “And I about you, Páez”he answers. They play to play an imaginary keyboard and their romance is born: Fito and Fabi will share their lights and shadows together in that hectic decade.
the essence of soulsthe absence of pain.
Ivan Hochmann -as Fito Páez- e Michaela Riera -in Fabiana Cantilo- reveal a clarion the joys and challenges they experienced while starring in the series. Its eight episodes recreate with great technical production and dramatic depthbut at the same time lightness and tenderness, the life of the keyboardist and composer from Rosario in the tiring, creative and liberating years of the 80s, after the dictatorship.
“The series it speaks of the darkness and the light needed to pass through it. Fito Páez’s life was very turbulent and hard hit. There were lives just as rock and intense, but less painful”, says Iván Hochman, born in 1994. Two years after the launch of Fito Love after love: the best-selling album in the history of Argentine popular music.
Slim, tall, dark haired, Hochman embodies Fito accurately, but not imitatively. She envelops him in her looks and in her body. Your dreams, fears and pains. His unbridled talent in and out of rock. And the actress and model Micaela Riera, born in 1991, has reached a lucid and sharp interpretation by Fabiana Cantilo. Together -Fito and Fabiana, Iván and Micaela- I am the soul of love after love.
“I am happy to have been part of this series. It will be a before and after in Argentinean productions”, swears Riera. The fiction was created by Juan Pablo Kolodziej and produced by him and Mariano Chihade (both partners of Mandarina TV) together with Netflix.
The different stages of the series
Temporally it goes from the moment in which Fito arrived from Rosario with the Trova Rosarina e Juan Carlos Baglietto. Show scenes from great creative flow that fascinated Charly García decide to add him as a keyboard player to the presentation of Modern clicks (1983) and the recording of Piano bar (1984). Right there, Fito would have met that intelligent and beautiful showgirl he had fallen in love with: Fabiana Cantilo.
-Hochmann: This series touches the sensibilities of people of different generations. As a child, I used to dance to the album El amor después del amor in the living room of my housewith my old There are people who would have seen Fito at Vélez Sarsfield that same year and there are young people who meet Fito again today.
“The series was a very ambitious project: It is a period production, a musical, a biopic with recreation of characters and nightly shows. I’m proud of the work done by the cast. And what the technical teams did with the sets, the costumes, for this incredible period trip,” acknowledges the fictitious Fito.
Love after love It offers strategic scenes from plays and mythic recordings by Fito, Charly and company. Offers brushstrokes of his early solo albums: from 63of 1984, e twistsfrom 1985. It evokes that first meeting with Luis Alberto Spinetta, on the street, which led to a friendship and a double key album: la la lasince 1986. And the exponential sound evolution of Fito up to Love after love.
But the focus of the Netflix series It’s not just a musical or nostalgic praise for Fito Páez’s achievements. On par with the 80s rocker the child Fito reappearsin Rosario (played by Gaspar Offhenden), with a founding pain: his mother Margarita Ávalos -concert performer- had died of liver cancer when he was just eight months old.
Fito grew up with that absencein the midst of piano studies and all the records that his father, Rodolfo Páez, made him listen to, civil servant and great music loverand who plays Field, in a register of absolute seriousness, unforgettable. Its acceptance and departure will also be decisive for the adult Fito.
In the 80s, the series will go through the most painful episode of his life: the brutal murder in 1986 of his grandmother Delma Zulema Ramírez de Páez, of his great aunt Josefa Páez -who had raised him-, together with Fermina Godoy, the employee, who was pregnant.
Fito was on tour in Rio de Janeiro and had a catharsis with whisky, pills and hotel room furniture. The condensation of a time of multiple excesses, which the series does not hide.
Even the police vicissitudes of the case will have their axis Love after love and they will even gravitate towards the creative.
The lights and shadows without half measures
-Hochmann: Fito went through his greatest darkness with a lot of light, with a lot of love, surrounding himself with beautiful people who supported him. AND Music was a channel for their pain, anguish and fears.. Music was a ground wire for Fito and he always supported it.
-Rice: Fabi also had a hectic and very dark life. But he’s come back up constantly. Today I see Fabi, such a sunny and free person, and I feel very proud of her. Because I know everything you’ve been through.
-What did the real Fito Páez and Fabiana Cantilo tell you?
-Hochmann: Mica and I had interactions with Fito and Fabi at key moments. Fito told me something about hair: “I needed to be seen at shows with Charly García, I was very desperate and wanted to get attention”. We also talked about his hands, his piano playing and that shaped my connection to the piano on the show.
-Riera: with Fabiana I had a long meeting, six hours. She told me absolutely everything. I felt her freedom to let me create, but whenever I needed it, I picked up her phone and called her to ask questions. Fabi was a love with me.
-If you had to pick one key moment for you two together in the series, what would it be?
-Rice: For me a scene in the street, when I get on Fito’s shoulders. Suddenly Fabiana is very happy, then she gets angry, gets into a taxi and starts talking to herself. This is very Fabi to me, even in the bond he had with Fito. For me it is the exact representation.
-Hochmann: I choose the sequence shot with which the presentation of the album is narrated twistsat Luna Park on December 6, 1985. It’s one of my favorite scenes and shots..
He describes: “Fabiana arrives late at Luna and then reappears changed, ready to sing. Magically she is always there. Before going on stage, Fabi stops Fito, paints his lips and kisses him. For me that gesture is like saying: ‘Look, Fito, all this is happening to us, which is crazy, but I give you this joy'”.
The aura of the 80s and who’s who
In keeping with these times of 80s retro fanaticism, the series manages to portray that decade perfectly. Not just for the hairstyles, the setting or the scenography. There is also a range of red, green and yellow tones very typical eighties vibe.
Charly García from the 80s is played by Andy Changoin a compromised registry, though a bit cartoonish (especially in the voice), but that doesn’t lessen the strength of her encounter with Fito.
TO Luis Alberto Spinetta is composed by Julián Kartún. Her hairstyles and his movements are spot on, and although he doesn’t look like him, he mimics his voice very well. Already Juan Carlos Baglietto is interpreted -or reflected- by his own son, Gioacchino Baglietto.
Various actors recreate the key artists and bands of the 80s: Virus, Los Twist, Don Cornelio y la Zona, Andrés Calamaro, Sandra y Celeste, Fabián Gallardo, Alejandro Urdapilleta, Tweety González, Batato Barea and many surprises. As snippets and song quotes: it will be necessary to stop at all times, during the eight episodes, in order not to lose any subtle or emotional reference.
Now when Fito and Fabi are separated Rosario’s other great love will appear: the actress Cecilia Roth.
Here the blonde embodies it Darina Butrykeven in scenes of great chemistry, in Buenos Aires or Punta del Este, as a prelude to that magnum opus -dedicated to Roth- which will be the album Love after lovesince 1992. Just after the thirtieth anniversary last year, in the midst of great celebrations.
Source: Clarin
