The suburban drama returns with a visually applied new season that lacks challenges and narrative daring.
After a first season which tragicomically narrated the spiral of lies into which an exhausted mother was sinking (Marina hands) making her family believe she has cancer and suddenly receiving love and care, season 2 of Mytho starts – this evening on Arte in prime time – after an ellipse lasting several months in an atmosphere worthy of a disturbing Christmas tale.
Elvira now lives in hiding in a neighboring house from where she secretly observes the activities of her husband (Mathieu Demy) and her three children who believe she has disappeared. Emotions run high, frustrations are expressed clearly and the series openly portrays the anger of a gallery of characters evolving in an increasingly violent and threatening world.
But while this collective darkness often hits the mark, Mytho falls back in the middle of the season in shortcomings that make him stand still. Inconsistent narrative tracks multiply and Fabrice Gobert sometimes seems to stubbornly seek to recreate the imagery of Ghosts ; by losing himself in particular in the description of a sectarian community (led by Catherine Mouchet) with which he does not do much, the director leaves little of his comfort zone. Energizing musical tracks are called in, the cast seduces and some mysteries of season 1 are happily solved, but Mytho is too lacking in madness, like those residential pavilions which, although they harbor different neuroses, end up being all look alike.