Those who demanded that Cuban soap operas be, above all, soap operas—according to the most classic conventions—can be satisfied with Return to the Heart. In its final episodes, the narrative embraced a fast-paced, action-packed story: adventures to get to the bottom of conflicts, tensions pushed to the limit, and a clear indulgence in the formulas of the timeless serialized melodrama.

This fidelity to a genre so often criticized, yet persistently relevant, serves as a declaration of principles. Here, intense emotion, the constant ebb and flow between joy and crisis, and the noble exaggeration of melodrama were embraced without reservation. And there’s a large—very large—audience that continues to demand this emotional connection.

The update came from the steady pace of its 78 episodes and the inclusion of topics under social debate: the recognition of non-traditional families, the dismantling of patriarchal machismo, cyberbullying and bullying, Alzheimer's, and the full rights of LGBTQ+ people. However, at times the treatment of these issues seemed to prioritize immediate impact, risking a superficial approach.

The deployment of conflicts also felt excessive. Several subplots ended up overshadowing the main storyline, and this imbalance somewhat hampered the effectiveness of the central narrative.

Nevertheless, the direction of the actors successfully harmonized performers from diverse backgrounds and training with a script full of intense scenes. Most responded competently. Some newcomers showed difficulties, especially with their voice and diction, but these are typical rough edges of a first experience, easily corrected with practice.

Among the formal strengths, the cinematography and lighting stand out, far removed from the accommodating solutions that often impoverish national productions. Here, the light attempts to create atmospheres, shape emotional states, and sustain the drama. In contrast, the makeup, indebted to certain foreign standards, was at times overly emphatic, especially in daytime scenes.

The soundtrack deserves special mention: the music doesn't function as mere decoration, but as dramatic support that accompanies—and sometimes underscores—the narrative's intentions. In complex times, making television and sustaining national drama is some kind of a feat and much of a cultural act of resistance.

Prejudices against soap operas persist from positions of supposed intellectual superiority. It's worth questioning specific examples, not the genre itself. A descendant of the 19th-century serial novel, the soap opera retains its resources because its essence lies within them. "Regreso al corazón" embraced this heritage without trauma and, in doing so, reclaimed a format that continues to be a symbolic space of collective recognition. Avoiding stagnation and banality is the goal. This was, unquestionably, a good attempt.

Translated by Amilkal Labañino / CubaSí Translation Staff