To start 2020 off well, Netflix is ​​betting on a geopolitical and theological series. The Messiah, inaugurated on the first day of the year, plunges us into the heart of conflict in the Middle East and evokes the birth of a savior. In his tracks, CIA agent Eva Geller must join forces with Israeli special agents and stop people from disturbing public order. We watched the first two episodes. Do they make you want to continue? The answer is in our article.

Creating a political series without falling into the trap of genre is not easy. Considered like a thriller, Messiah has the tough task of asking us about the birth of a belief and after two episodes, it’s quite promising. To answer this overwhelming theological question, Michael Petroni chooses to take his intrigue into a Middle East torn apart by religious questions.

A dangerous choice, which pays off as the Messiah handles religious and political themes with finesse. From the introduction, this series sets the scene, belief will be at the heart of the plot and rather than knocking us down with the mundane, the Messiah prefers to give us the key reflection. Here, we wonder about the scope of an ideology, the embodiment of a message and the spread of a word. Prophets are virtual, and social media has replaced divine writings.

In its construction, Messiah is considered a thriller with a slower climax and moments. Not saying much, the series focuses on the essentials and leaves room for the characters to act and interact. Michelle Monaghan is charming as Eva Geller, a CIA agent, and Tomer Sisley is convincing as Avrim Daham’s family man. Mehdi Dehbi, for his part, dazzled in the role of savior, lifted to the skies by many believers. Bewitching and fair, the Belgian actor has established himself in The Son of the Other, alongside Pascal Elbé and Emmanuelle Devos in 2012.

Exhibits that are sometimes complicated
If the Messiah had not experienced the lag, the first minutes would have been quite tricky to achieve. In its exhibition scene, the series chose to explore the character’s past and it was quite a success. To make his point, the Messiah decided to show us this human desire to explain the inexplicable through religion.

We sometimes regret using, a little too often, chain information sets to introduce actions. Overall, the Netflix series did well and didn’t drown viewers in a flood of information. The writers managed to dilute the elements needed for the plot. In a certain order that might seem pretext at first glance, Michael Petroni never stops questioning the viewer, but always in a subtle way.

On the production side, the first two episodes are pretty shy and if the plans are executed well, nothing memorable. To show this ideological omnipotence, the director in charge of the episode did not use the symbolism of the image and that is a shame. Work on photography is efficient, without being transcendent. The shoulder shot reinforces this scripted documentary idea, and this desire for significant realism.

After two episodes, the Netflix series definitely piqued our curiosity. The plot is gripping and the suspense increases as time goes on. It remains to be seen whether the series will manage to subtly develop, over the course of the season, the extremely complex issues it proposes to tackle. These first two episodes, however, no doubt make us want to keep watching to find out.

By D14N