The End of TV Drama Calendario

The final shot of Calendario (Cubavisión, Sundays after the Evening Newscast) summarized a recurring approach of the television series: the regenerative gift of resilience. The persistence of a teacher, the determination to retake again and again a difficult and challenging path, could be assumed as an inspiration for those who, in this country, face complex situations, exacerbated by successive crises. Those who search for evasion in art (which is a very legitimate search) did not find it in Calendario. But there is hope, encouragement, committed recreation of a context.

The fact that all the plots did not have the classic happy ending put, to a certain extent, the traditional soap opera scheme in crisis. But the series never intended to be a soap opera, even though it used some elements of the genre. There were harsh conflicts, irreconcilable stances that were subjected to scrutiny. But it always shied away from simple didacticism or exemplary nonsense.

The TV series had to cope with the emigration of some of its actors (emigration, in fact, is one of the themes of the TV proposal) and that undermined certain logic of the plot: important stories had to be modified or simply sent from one season to another. Luckily, the main core remained and that guaranteed the essential coherence.

The mastery of the drama also distinguished Calendario. Without the need for technological boasts, the TV series met the elementary quality standards. It would be necessary to take note of the singularities of the production design, which could be applied to other television dramas. But the greatest merit goes to the filmmakers, who have done their work with rigor and sufficiency.

The bar is really high now. Let´s hope this TV series serves as an incentive.

Translated by Sergio A. Paneque Díaz / CubaSí Translation Staff