The opening shot of Suburræterna is a long, unbroken take of Rome’s chaotic streets, the camera weaving through crowds and traffic like a restless spirit. It’s an audacious move, setting the tone for this sprawling crime drama that picks up where Suburra: Blood on Rome left off. But while it shares DNA with its predecessors—gripping power struggles, moral ambiguity, and a city teetering on collapse—the series falters under the weight of its own ambition.

Suburræterna, released on Netflix in November 2023, is the latest chapter in the Suburra franchise, which began with the 2015 neo-noir film and continued with the 2017 series Suburra: Blood on Rome. Created by Ezio Abbate and Fabrizio De Angelis, this installment sees Giacomo Ferrara reprising his role as Alberto “Spadino” Anacleti, a mobster returning to Rome amid political and religious turmoil. The city itself is a character, its streets a battleground for power as established alliances crumble and new threats emerge.

The series premiered at the 18th Rome Film Festival on October 28, 2023, before hitting Netflix on November 14. Filming began in October 2022, with the cast including Filippo Nigro, Carlotta Antonelli, Federica Sabatini, and Marlon Joubert, among others. The soundtrack, composed by Ariel Lerner, features standout tracks like “Triplets (Main Theme)” that heighten the tension.

The premise is simple but potent: Spadino returns to Rome after prison, determined to reclaim his criminal empire. The city is in chaos—governments are collapsing, the Vatican is in crisis, and the streets are literally on fire. The series dives headfirst into this turmoil, exploring themes of loyalty, power, and redemption.

Giacomo Ferrara’s performance as Spadino is a highlight. He brings a nuanced vulnerability to the role, balancing Spadino’s ruthlessness with moments of introspection. Filippo Nigro, playing Amedeo Cinaglia, delivers a masterclass in quiet intensity, his character a linchpin in the series’ political maneuvering. Carlotta Antonelli’s Angelica Sale provides an emotional anchor, her performance grounding the narrative in humanity.

The cinematography is another strong point. Rome is captured in all its beauty and decay, the camera lingering on crumbling facades and bustling piazzas. The city’s history is palpable, its streets a testament to centuries of power struggles. The soundtrack complements this visual feast, adding an otherworldly edge to the proceedings.

However, Suburræterna struggles to maintain momentum. Where Suburra: Blood on Rome thrived on its relentless pacing and visceral violence, this series dials back the action, substituting it for drawn-out political maneuvering. The plot meanders at times, losing focus in its attempt to juggle multiple storylines. The decision to minimize the overt sex appeal and brutality that defined earlier entries also strips away some of the raw energy that made them compelling.

The series’ biggest misstep is its reliance on prior knowledge. While it’s possible to follow Suburræterna as a standalone, those unfamiliar with the earlier films and series will miss crucial context. The narrative assumes familiarity with established characters and relationships, leaving newcomers adrift in its complex web of alliances and betrayals.

What saves Suburræterna from complete collapse is its commitment to authenticity. Rome isn’t just a backdrop; it’s a living, breathing character, its history and chaos woven into every frame. The performances are uniformly strong, even if the script occasionally stumbles. And while the pacing drags in places, the series builds to a satisfying climax that rewards patient viewers.

The series also explores themes of family and loyalty, with Spadino’s return forcing him to confront his past and the choices he’s made. The Luciani family, another key player in the narrative, must navigate their own alliances, adding layers of complexity to the story. The Vatican’s involvement adds a layer of intrigue, as religious power intersects with criminal enterprises.

In comparison to its predecessors, Suburræterna feels more restrained. Where Suburra: Blood on Rome was a visceral, adrenaline-fueled ride, this series is a slower burn. It’s a choice that doesn’t always pay off, as the narrative occasionally loses steam. However, the series’ strength lies in its performances and its unflinching portrayal of Rome.

The verdict? Suburræterna is a flawed but fascinating entry in the Suburra universe. It lacks the immediacy and visceral thrill of its predecessors, but it compensates with atmosphere, strong performances, and a deep love for its setting. It’s a series that will resonate most with dedicated fans of the franchise, offering a continuation of familiar storylines and characters.

For newcomers, however, Suburræterna may prove challenging. The complex web of alliances and betrayals requires prior knowledge to fully appreciate. Without it, viewers may find themselves adrift in the narrative’s intricacies.

Ultimately, Suburræterna is a series for those who love crime dramas with a political edge, where every alliance is temporary and every victory is fleeting.