SundanceTV is gearing up to launch "Alguien Debería Prohibir Los Domingos Por La Tarde" (Someone Should Ban Sunday Afternoons), a new eight-episode series created and directed by the acclaimed Spanish filmmaker Isabel Coixet. This French production, each episode clocking in at a half-hour, has already made its mark on ARTE and is slated for its Spanish premiere at the South International Series Festival in Cádiz. The series promises a poignant and intimate exploration of youth, dreams, and the complex journey into adulthood, all filtered through Coixet’s distinctive directorial lens.
The narrative centers on Louise, a young woman with aspirations of becoming a film director. Her pursuit of cinematic dreams leads her to Paris, where she has secured a university scholarship. It is in the vibrant, yet often overwhelming, atmosphere of the French capital that she encounters Charlie and Nelson. Together, these three young individuals forge a unique, chosen family, navigating the challenges of finding their place in the world. Their shared experiences, particularly within the confines of a shared apartment, become the crucible for their personal growth and evolving relationships.
The Sofa as the Nexus of Young Adulthood
The series’ evocative title stems from a deeply personal ritual observed by the three protagonists. Every Sunday afternoon, they gather to watch what they term "the saddest movies in the world." Coixet herself describes this weekly gathering as "the Bermuda Triangle of the week," a temporal space where childhood fears intersect with adult anxieties. This ritualistic viewing session, more than just a shared pastime, becomes a central motif of the series, symbolizing their shared vulnerability and their attempt to process the emotional complexities of their lives.
The sofa in their shared apartment emerges as the heart of the series. It is within this intimate setting that secrets are unveiled, fervent discussions about cinema and music unfold, and the inevitable disappointments of life are digested. What begins as an opportunity for Louise to chase her directorial ambitions evolves into a profound lesson in friendship, identity, and the often-turbulent transition into adult life. The series delves into the nuances of these formative years, exploring the universal search for belonging and self-discovery.
Louise arrives in Paris with a specific creative vision. Her ambition is to pen a screenplay exploring a fictional love story between the iconic French singer Françoise Hardy and the enigmatic British singer-songwriter Nick Drake, set against the backdrop of 1960s Paris. Her scholarship provides her with the opportunity to develop this script under the guidance of Ted Mackey, an Oscar-winning American screenwriter who, in a twist of fate, now dedicates his talents to crafting superhero blockbusters for Hollywood. This mentorship promises to be a key plot point, exploring the clash between artistic integrity and commercial demands.
Charlie, among the trio, is portrayed as the most emotionally turbulent. She grapples with a strained relationship with her mother, oscillating between intense anger and profound vulnerability. Nelson, on the other hand, is an apprentice sushi chef, seeking a form of spiritual fulfillment in the meticulous precision of his craft. The French synopsis succinctly encapsulates the series’ core elements: "Cinema, sushi, and intense loves." This distillation hints at the rich tapestry of experiences and emotions that will be woven throughout the narrative.
A Stellar Ensemble Cast Anchors the Series
The central trio is brought to life by emerging talents from the French film scene: Liv Henneguier as Louise, Clara Bretheau as Charlie, and Théo Christine as Nelson. These young actors are tasked with carrying a series that is largely constructed through conversations and the subtle details of everyday life, a testament to Coixet’s intimate storytelling approach. Their performances are expected to be understated yet powerful, reflecting the raw emotionality of their characters.
Beyond the lead actors, Coixet has assembled a formidable supporting cast. Tim Robbins, a familiar face to Coixet’s work, returns to collaborate with the director, portraying Ted Mackey, the Oscar-winning screenwriter tasked with reviewing Louise’s project. Robbins’ previous collaboration with Coixet on "The Secret Life of Words" nearly two decades ago, highlights a longstanding artistic partnership. Jeanne Balibar, a renowned French actress, takes on the role of Alix, Charlie’s mother, likely embodying a complex maternal figure. The esteemed Spanish actress Nathalie Poza joins the ensemble as Anna, further underscoring the international scope of the production. The supporting cast also includes Chloé Lecerf as Zoé, Franc Bruneau as Gilles, and Louise Follain, who appears as Françoise Hardy in Louise’s imagined cinematic sequences.
The return of Tim Robbins to a Coixet project is a significant point of interest. Their prior collaboration on "The Secret Life of Words" (2005) was critically acclaimed, showcasing a strong rapport between the director and actor. This reunion suggests a deep understanding and trust, which is likely to translate into compelling performances. Furthermore, Coixet has once again enlisted her long-time cinematographer, Jean-Claude Larrieu, the visual architect behind nearly all of her filmography. Larrieu’s distinctive style, characterized by its atmospheric depth and nuanced lighting, is expected to imbue "Alguien Debería Prohibir Los Domingos Por La Tarde" with a visually arresting quality that complements its introspective themes.
A Melancholic Tragicomedy with the Distinctive Coixet Stamp
The series is a co-production between ARTE and Maui Entertainment, with Eric Rochant, the creator of the acclaimed series "The Bureau," serving as one of the producers. This collaborative effort highlights the project’s ambition and the caliber of talent involved. Coixet herself is credited with the creation, screenplay, and direction of all eight episodes. This marks her second foray into television series creation, following "Foodie Love" for HBO in 2019, and it is her first series produced outside of Spain, signaling an expansion of her creative reach.
The Paris depicted in the series is far from the idealized postcard version. Instead, it is a more intimate and lived-in cityscape, featuring discreet cafés, second-hand bookstores, the picturesque Canal Saint-Martin, and apartments furnished with inherited pieces. The visual palette is imbued with the soft, often melancholic light of winter. The series incorporates Super 8 sequences, adding a nostalgic and dreamlike texture, and features a carefully curated soundtrack that serves as a narrative thread, underscoring the emotional journey of the characters. French critics have lauded the series as a "melancholic tragicomedy" that deliberately shuns the spectacular in favor of introspection.
The thematic and stylistic influences are consistent with Coixet’s established artistic sensibilities. The spirit of pioneering female filmmakers like Agnès Varda and Chantal Akerman seems to permeate the series. Conversations about films, records, and books are not mere decorative elements; they are the characters’ primary mode of communication and a defining aspect of their identities. For viewers seeking rapid plot twists and high-octane drama, "Alguien Debería Prohibir Los Domingos Por La Tarde" may offer a different kind of cinematic experience, one that rewards patience and invites deep engagement with its characters and their inner lives.
In France, ARTE premiered the series on its platform on March 12, 2026, followed by television broadcasts on March 19 and 26 of the same month. Critical reception in France highlighted the nuanced performances of the central trio and the series’ palpable atmosphere. However, some critics noted a deliberately slow pace, suggesting that the series demands a patient viewer attuned to its subtle rhythms.
Festival Premiere in Cádiz and U.S. Debut on SundanceTV
"Alguien Debería Prohibir Los Domingos Por La Tarde" has been selected for the Official Section of the South International Series Festival 2026, an event scheduled to take place in Cádiz from October 30 to November 4. Isabel Coixet herself is expected to attend the festival to present the series, offering an invaluable opportunity for audiences and industry professionals to engage with the director and her latest work.
Following its festival debut, the series will arrive on SundanceTV, AMC Networks’ specialized channel for auteur cinema and television. The premiere on SundanceTV is slated for November, positioning it as a significant highlight of the network’s fall programming in Spain. This strategic placement on a platform dedicated to sophisticated and artistically driven content aligns perfectly with the series’ tone and themes.
The arrival of "Alguien Debería Prohibir Los Domingos Por La Tarde" on SundanceTV is part of a broader push by AMC Networks in Spain. The company’s fall lineup also includes the highly anticipated finale of "The Walking Dead: Daryl Dixon" and the new anthology series "The Terror: Devil in Silver" on AMC+. Additionally, classic programming such as "Roots" and new episodes of "The Growing Pains" will be available on VinTV, showcasing a diverse range of content catering to various viewer preferences.
In essence, Isabel Coixet has transformed the contemplative quietude of Sunday afternoons into a compelling eight-part series. With its intimate narrative, strong performances, and Coixet’s signature directorial touch, "Alguien Debería Prohibir Los Domingos Por La Tarde" promises to be a significant addition to the fall television landscape, offering a thoughtful exploration of youth, dreams, and the enduring power of human connection. The rendezvous is set for this fall on SundanceTV.
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