Kritiken

[The New Years] makes every other TV romance look as if it was scripted by AI; I’d say it is close to perfect... It is [a] truthful [love story], exploring a formative connection and its ebbs and flows over time... [and all the] naturalistic details give [it] a wonderfully lived-in feel.

The best comparison for what [the filmmakers have] created would be the talky lovelorn masterpieces of Éric Rohmer, or Richard Linklater’s latter-day homages, those glorious Before movies... The New Years moves at a sometimes stately pace... but sticking with it yields serious rewards.

Comfortable in some ways, subversive in others, and guided by a lived-in feel throughout, The New Years shows that a series with a format hook like this can still be driven by careful attention to character over all else.

Río and Carril have good chemistry with each other... The New Years keeps its storytelling relatively simple, focusing on the main characters as we peek in on their evolving relationship over a decade.

Just like first, tentative impressions you have in a relationship, “The New Years” grows and matures and molds into something more meaningful and gracious... It’s one of the most effective and affecting series I’ve experienced in some time, and is a creative triumph for all involved.

If [The New Years] is characterized by anything, it is its overwhelming naturalness, something that can be seen both in the extraordinary work of the lead actors, Iria del Río and Francesco Carril, and in the brilliance of scripts that have been written and rewritten until they achieve a fluidity that is more akin to improvisation. [Full review in Spanish]

[The New Years] s is such an impartial laboratory sample that it seems to bring together all the necessary conditions of emptiness to study action, reaction, consequences, and the handling of that cursed gift that some of us dare to traffic in: love. [Full review in Spanish]

[The New Years] seeks the real, not the realistic. It embraces artifice, whether through the traditionalism of the first episodes or by exploiting the theatricality of its final moments, with an emotional hangover that is 100% Bergmanian. [Full review in Spanish]

The three screenwriters seek realism in a narrative mold that rows in the opposite direction by always placing the characters in days of great symbolic power... The viewer can immerse themselves in the relationship, which, on the other hand, at times suffers from not giving more character to the situations. [Full review in Spanish]

The New Years is simply perfect. It wins you over from the start with an authentic story, without artifice or science fiction. It captivates with a perfectly structured script and protagonists who give their all in every scene. [The series] is so realistic that it's scary, and so beautiful that you can't help but fall in love with its characters. [Full review in Spanish]

[The New Years] is Sorogoyen's most ambitious work, not only because of its scope, but also because of the absolute polish of its acting, script, and staging. If the current trend in certain fiction is toward the most realistic representation possible, [the series] is the paradigm of naturalness. [Full review in Spanish]

The New Years is a series that leaves a lasting impression. A series capable of being profound and moving from the simplicity of the everyday, of achieving a real dissection of a couple, love and its setbacks. Undoubtedly one of the greatest series in recent years.