The new season of the TF1 series goes further in its exploration of adolescence.
New episodes, new cast, new challenges, the fourth season of TF1’s hospital drama series, Red Bracelets continues his exploration ofadolescence through illness. Emma (Kali Boisson) has been on dialysis for years and awaiting a kidney transplant. Zoé (Esther Blanc) is hospitalized for a bone tumour. Nathan (Noah Déric) emerges blind from a surfing accident. Gabriel (Noé Wodecki) is struggling to recover from a violent car accident. And Benji (Léo Lorleac’h) is slowly dying out. Five teenagers that fate seeks to silence but who are determined to do battle to better scream their vitality.
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New energy
“The first three seasons were faithful to the original format. Their success made us want to go further in a form of maturity and in the deepening of the trajectories of each, without forgetting the expectations of the public, without forgetting the story of Albert Espinosa from which the series is inspired, without forgetting to maintain the balance between fiction and reality”, explains the producer, Véronique Marchat. The six new episodes show the care taken in writing, the perfect balance between laughter and tears, the fine management of interactions between teenagers, their parents and hospital staff. Without forgetting the absolute respect due to all young viewers, disabled or sick, who watch the show.
Amazing teenagers and adults
Even more than before, these parts question adolescence in all that it knows of bitter or exalting: the birth of love, the endangerment of the self, the conjuration of death, the disorders of the behavior, anger, courage, faith in friendship, abandonment anxiety, the need to dream. The young actors are excellent. The cast of adults is amazing. Blandine Bellavoir moves as a woman far too alone and far too young to be a mother. Émilie Caen and Samira Lachhab embody the perfect couple of mothers devastated by the inexorable. Liliane Rovere accompanies her neuroatypical and cancerous granddaughter with an overwhelming naturalness.
In the process of running out of steam, particularly since the Covid, the hospital genre finds in Les Bracelets rouges a new and singular energy which is due to the youth of its heroes, to the bias of placing itself on the side of the sick, and not of the doctors, and to the message of hope that the series constantly hammers home. Its launch in France, in 2018, in the wake of the Catalan, German, Italian and American versions, also paved the way for series dealing with and including disability. It was time.