Ok, friends we’re starting off strong with this review: I DIDN’T LIKE IT.
Yes, friends, One Hundred Years of Solitude is a book I had to study extensively during my university years—I studied a lot of literature—and it’s a shame to come across this kind of result. I understand that the book is dense, with well-defined characteristics such as Magical Realism, a convoluted family history, and the social context of the time. I consider this kind of book to be an ouroboros. And the series failed to fulfill the promise of bringing these beloved characters to life. Sadly, I give it a 3 out of 10.
SYNOPSIS:
This series is based on the book by Gabriel García Márquez, a renowned work of Latin American literature. It has been praised by great writers and is a true gem that posed many challenges in adapting it to the screen. The family saga, Macondo, and the entire chronology are a complex marvel touched by the magical realism that was at its peak at the time.
The series begins by starring Úrsula Iguarán and José Arcadio Buendía, the central characters of the family that founded Macondo. We gradually come to understand the complexity of Úrsula and José Arcadio’s relationship—adventure, betrayal, family, friendship, envy, sexuality, incest, economics, politics—all of it rooted in the love between Úrsula and José Arcadio.
Since it is based on such a visceral work, one that portrays the life of the Buendía family in a raw and direct way, the series aims to depict all these themes as faithfully as possible. It consists of a first season with 8 episodes, and a second season currently in development.
AESTHETICS
Considering the demanding nature of the literary work, I want to start by discussing what I expected in terms of the series’ aesthetics: I was hoping for a sense of criollismo on screen, period costumes, a warm but clean earthy color palette—because, after all, the story depicts the birth of a town marked by scarcity, set in a social context without technology or modern infrastructure. And, of course, the magical touch—a visually compelling script worthy of magical realism.
But what I saw in the series didn’t appeal to me, and not because they failed to include what I just mentioned. Rather—and I emphasize that this is my personal opinion—in recent years, Colombia seems to stick to the same formula for period dramas. I didn’t see anything new or interesting from a visual standpoint. On the contrary, I was disappointed to see more of the same.
The editing relied heavily on high saturation and warm, almost orange tones. That saddened me because I’ve long criticized how most cinematic works portray Latin Americans with excessive saturation and brightness, making the characters appear sweaty and/or dirty. That’s an aesthetic I don’t agree with. So, for me, it just didn’t work.
Some might argue that this was simply the chosen style or artistic direction of the series. But I disagree. I recently wrote a review of Like Water for Chocolate You Can Read It Here, which presents similar elements: magical realism, a historical setting, and a wartime context. And it’s very clear that Mexico is putting in the effort to elevate the quality of its audiovisual productions, moving away from that stereotypical filter used to depict Latin Americans. Both series came out in the same year—2024—and both are period pieces with magical realism. But in my opinion, one succeeded in its goal, and the other didn’t.
MAGICAL REALISM:
Well, the name itself reflects the essence of the genre—a story rooted in real events with a touch of magic. It’s a beautiful genre in Hispanic literature that, amidst chaos, hunger, war, and social upheaval, elevated certain episodes of everyday life. One of my favorite moments in One Hundred Years of Solitude was when José Arcadio Buendía discovered ice. Or the insomnia epidemic in Macondo. I was really excited to see Melquíades with his bizarre "inventions" or modern gadgets that amazed the head of the Buendía family.
But the series completely failed to capture the charm of the "magical realism" genre. The entire production felt more like a telenovela to me. And I mean that in terms of format—somewhat exaggerated performances, and extended scenes that didn’t add much value. I haven’t read any reviews, and I don’t know if the press praised it, but for me, it fell far short of expectations.
Again, I encourage you to watch Like Water for Chocolate. There, I truly saw magical realism come to life. And believe me, it’s not an easy genre to portray visually—these are bizarre, magical events placed within a very real-world context. Yet that production pulled it off without compromising its format.
CHARACTERS
I know I’m being very critical of the series, but when you’ve read a work like this one so thoroughly—a book with a soul of its own—you can’t help but expect it to be treated with care. That said, I’ll set aside the negatives for a moment to focus on the cast.
At first, I wasn’t convinced by the wardrobe choices, but those are minor details. I understand they aimed to portray the everyday Colombian—people who fit into the criollismo aesthetic. And that’s definitely a positive point. I appreciated that the cast wasn’t made up of mainstream actors. We saw new faces and some interesting performances—like Rebeca, portrayed by two actresses (the child and the adult versions). Both did a great job, but Akima (Laura Sofía) is simply unforgettable. Her beautiful features and the way she embodied the role really stood out to me.
However, the overwhelming success of the series—without a single doubt in my mind—was the character of Úrsula Iguarán. She was also played by two actresses: Susana Morales (young Úrsula) and Marleyda Soto (older Úrsula). In my opinion, both actresses outshone the entire cast. Seeing them portray Úrsula with such strength and conviction made me believe in the story. The evolution of the matriarch, the quintessential Latin woman who holds her family together and doesn’t hesitate to stand her ground or show a stern face when something doesn’t sit right with her—that, for me, was a resounding “YES, THIS IS EXACTLY WHAT I’M TALKING ABOUT.”
This character was the reason I stuck around to finish the series. Because unfortunately, no other character really captured me.
CONCLUSION
It was an ambitious project that ultimately didn’t achieve its goal. There are only a few moments that truly shine. I’m left with a broader perspective on what I expect from any adaptation of this masterpiece to streaming or film. And yes, I will definitely watch the second season to continue following the production.
However, I remain dissatisfied with the project as a whole. I’d love to hear your thoughts as well, and I hope you’ll forgive me if I was too visceral in my critique—sometimes we need to take note of the negative aspects in order to grow.
My 
