Con the series ACABavailable on Netflix, the Italian panorama is enriched by a work that combines the tension of the detective genre with a profound human and social analysis. Produced by Cattleya and inspired by the book of the same name by Carlo Bonini, ACAB expands on the topics already addressed in Stefano Sollima’s film (2012), involved here as executive producer.
The six episodes of All Cops Are Bastards delve into the moral and personal dilemmas of its protagonists in a powerful story that does not limit itself to representing the violence of the squares, but above all tries to understand the consequences it has on the lives of those who face it on a daily basis.
There is no judgment or exaltation of the police, the lives of men and women who live the border between law and chaos every day are managed with balance and anti-rhetoric. Their stories, so different and at the same time similar, they raise questions about how much disorder a society can tolerate. And on how much weight can be imposed on those who are called upon to maintain its balance.
ACAB on Netflix, the plot of the episodes
At the center of the series is a team from the Mobile Department of Rome, made up of men and women who, under their riot uniforms, face both internal and external conflicts. The accident of their commander, Pietro (Fabrizio Nardi), following clashes in Val di Susa, throws the group into a moment of crisis, bringing Michele Nobili (Adriano Giannini) to his command.a policeman who embodies a more reformist and liberal vision.
This change of leadership triggers tensions within the team, led by Ivano Valenti, known as Mazinga (Marco Giallini), a veteran faithful to the old methods, and composed of complex characters such as Marta (Valentina Bellé)a single mother divided between work and family, tormented by the specter and intrusiveness of her ex, and Salvatore (Pierluigi Gigante), a veteran obsessed with discipline but incapable of establishing authentic personal relationships.
Adriano Giannini in “ACAB”. (Netflix)
ACABthe review of the Italian series
Are all cops really bastards as per the title? Things are more complex, just as the reality of the characters is complex. Through the joint work of Carlo Bonini, Filippo Gravino and the other authors, each figure emerges with its own depth and ambiguity. And she is far from the clichés of the violent policeman or the champion of justice.
Mazinga is a man who sacrificed everything for workbut finds an unexpected serenity in the care of his plants; Marta is a woman who fights to maintain a balance between her role as a mother and the brutality of the square; Michele strives to bring a new order, but is forced to deal with the contradictions of his own private life. Michele Alhaique’s direction is one of the most incisive elements of ACAB.
Alhaique manages to bring the viewer inside the life of the team, alternating moments of breathtaking action with more intimate scenes, where the fragilities of the protagonists emerge. His attention to detail and the psychology of the characters gives the story a human dimension that is rarely found in the genre. The dark photographywith cold tones and a marked use of shadows, reflects the moral ambiguity that runs through the story.
Valentina Bellé in a still photo from the series “ACAB”. (Netflix)
The cast of the series ACAB: Marco Giallini, Valentina Bellé, Adriano Giannini
Valentina Bellé – increasingly mature and layered actress – stands out for an intense and multifaceted interpretation, which makes Marta a vibrant and credible character. Pierluigi Gigante, making his debut in a leading role, surprises with the authenticity with which he portrays Salvatore. Marco Giallini, although incisive as Mazinger, suffers from some diction problems which at times weighs down his interpretation.
Overall, the cast manages to make the dynamics within the group credible. The most successful moments of ACAB they are the choral ones. Because the missions of the Mobile Department are not only the result of an adrenaline-filled approach, but the result of a team game in which tensions, affections and rivalries are constantly intertwined.
The action scenes are taken care of down to the smallest detail, accompanied by an energy and physicality which capture the viewer’s attention, but it is in the moments of pause, when the characters take off their uniforms, that the real internal battles emerge. And everyone’s demons become co-protagonists.
ACAB it is the demonstration that even Italian crime fiction can be both spectacular and thoughtful at the same timeinnovating the canons of the genre, offering an intimate and modern look at a world often told only on the surface. It is a product that entertains, but also leaves room for reflection. And which pushes the viewer to question the boundaries of violence, power and morality.
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