En terapia

In therapy is a series that focuses on the psychoanalysis sessions of Mr. Guillermo Montes (Diego Peretti) throughout his week, showing in each of various patients.

On Monday he treats Marina Generis (Julieta Cardinali), a hysterical 30 year-old who, at the beginning of the series, reveals that she is deeply in love with him. On Tuesdays they focus on the therapy of Gastón Ramírez (Germán Palacios), a rigid police officer of the Federal Police Argentina that enters an identity crisis that touches relationships with his family and his sexual identity. Wednesdays follow the sessions of Clara Salinas (Ailín Salas), a 17-year-old classical dancer who enters therapy after an alleged attempt at suicide, and is unable to confront her father for the toxic relationship that unites them. Thursday is the turn of the marriage of Ana Irigoyen (Dolores Fonzi) and Martín Pineda (Leonardo Sbaraglia), a couple that begins the sessions by their disagreement before the news of a pregnancy that they don't know if abort or not, and whose treatment is complicated because they cannot hold a conversation without permanent confrontation. On Fridays, Montes goes to the office of his supervisor and former teacher Lucía Aranda (Norma Aleandro), whom he contacts after a fight they had years ago, when he begins to suffer a midlife crisis, they touch on their sessions issues related to their professional vocation, their maturity, their marriage that begins to crumble, the estrangement of their three children and their feelings towards the patient Marina, who begin to confuse him.

In the second season the psychoanalysis sessions continue following the same story and plot line. Due to Gastón's suicide, his father Jorge (Federico Luppi) decides to denounce Guillermo for malpractice, so he turns to a lawyer to take charge of his defense. The lawyer, Juliana (Carla Peterson), begins therapy on Monday. On Tuesday, the session involves Ana, Martín and their son Maxi. The first two characters had already participated in the first season. This time the therapy focuses on the son of both, and the maturation of the couple after the divorce. On Wednesdays, Guillermo attends to José (Roberto Carnaghi), an entrepreneur who is forced to face the passage of time and the ecological disaster caused by the company he runs. On Thursdays we meet Valentina (Luisana Lopilato), a student who has to face a terrible disease. On Fridays, Guillermo continues his sessions with Lucía, his therapist and former teacher.

In this third part, Guillermo Montes' personal life is in crisis, initially for fear of suffering a principle of Parkinson's, so he turns to Laura's office (Julieta Díaz) in search of psychiatric treatment. What at first seems to be a distant and somewhat confrontational relationship between Laura and Guillermo is slowly changing, and over time Guillermo develops feelings of romantic interest in his Laura. On the other hand, new patients will bring new experiences to Guillermo's office. Gabriela (Cecilia Roth) is a 51-year-old actress who suffers sudden forgetfulness and is very concerned about her personal and professional future. Carlos (Darío Grandinetti) is an educated and religious man, from the countryside santafesino, who has lost his wife recently and had to move to his son's house. Julián (Santiago Magariños) is a teenager and son of adoptive parents, with whom he seems not to get along.

The series had positive reviews of the entire paper and digital press of Argentina. The newspaper Clarínhighlighted her style, considering her an "heiress" of Situación límite (1984) and Atreverse (1990). The newspaper La Nación gave him a "very good" rating (four stars out of five) and praised "the forcefulness with which the characters of the characters involved in the story, the richness of the plot that the talks in the office reveal in which the relations between them are woven, the certainty of the dialogues that give account of these talks and the structure of each episode and the future of the series in general that manages the intrigue in addition to the turns, the emotion and the humor they get the viewer's imagination to become a luxury assistant for that indoor camera and make history come alive, variety and dynamism by transcending the limits of the unity of place that the series supposedly poses. The newspaper Tiempo Argentino highlighted that “in the antipodes of the local productions that appeal to the musical edition to prick the spectator's emotion, here the silence allows to recover the“ noise of real life. After all, this dryness strengthens the dramatic nature of the psychoanalytic scene and, in the viewer, the "feeling" of spying on an event that, of course, is forbidden, although it marked that" the vulnerable point of En terapia It is the collation, which in some episodes reveals incongruities of continuity. The magazinene Noticias de la Semana gave it five stars and directly described it as “an impeccable fiction, very well written and adapted and with anthological performances that raise the level of daily fiction well above usual standards“. The newspaper Página/12 marked that “returning to the most basic tools is a novelty worth celebrating”, and this is “the key to the appeal of En terapia, highlighting the organization of the series in independent sessions that can be followed freely as a «novelty that the series introduces on Argentine TV, in addition to giving it a practical sense, gives fiction a necessary flexibility in times of broad access to cultural consumption”. As a result of their relative popularity particularly in middle class sectors several media spoke about En terapia from its sections of psychology and society. The Revista Ñ treated the issue of ethical problems of the discipline with the dignity of the patient, and the newspaper La Nación consulted several psychoanalysts about the way in which the series had emerged as a subject for comparison by several of their patients, and their opinion on the likelihood of the sessions shown.

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