{"id":7906,"date":"2015-10-07T06:55:50","date_gmt":"2015-10-07T06:55:50","guid":{"rendered":"https:\/\/www.revistarambla.com\/el-apostata-federico-veiroj-2015\/"},"modified":"2021-04-19T19:38:28","modified_gmt":"2021-04-19T17:38:28","slug":"el-apostata-federico-veiroj-2015","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/el-apostata-federico-veiroj-2015\/","title":{"rendered":"El ap\u00f3stata (Federico Veiroj, 2015)"},"content":{"rendered":"

\"alt\"<\/p>\n

Hay pocas<\/span> cosas<\/span> m\u00e1s<\/span> tristes<\/span> que<\/span> ir<\/span> al cine y encontrarse<\/span> en una<\/span> sala<\/span> completamente<\/span> vac\u00eda<\/span>. Ego\u00edstamente<\/span> disfruto<\/span> m\u00e1s<\/span> en la soledad<\/span> de una<\/span> sala<\/span> imaginando<\/span> que<\/span> es<\/span> mi propia<\/span> sala<\/span> de cine, pero<\/span> si<\/span> fuera<\/span> as\u00ed<\/span> siempre<\/span>, el cine no existir\u00eda<\/span>. Esa<\/span> ha sido<\/span> mi experiencia<\/span> personal viendo<\/span> \u201cEl ap\u00f3stata\u201d<\/span> en una<\/span> ciudad<\/span> de provincias<\/span> que<\/span> suele<\/span> colgarse<\/span> muchas<\/span> medallas<\/span> al cabo<\/span> del a\u00f1o<\/span> presumiendo<\/span> de cinefilia<\/span>, pero<\/span> que<\/span>, al final, lo \u00fanico<\/span> que<\/span> recolecta<\/span> es<\/span> el postureo<\/span> de un festival que<\/span> este<\/span> a\u00f1o<\/span> va<\/span> a cumplir<\/span> su<\/span> 60\u00aa edici\u00f3n<\/span> sin conseguir<\/span> que<\/span> el cine forme<\/span> parte<\/span> del tejido<\/span> estructural<\/span> de la misma<\/span>. Postureo<\/span> oficial<\/span> y postureo<\/span> de los espectadores<\/span> que<\/span> se dejan<\/span> atrapar<\/span> por<\/span> el oropel<\/span> de los actos<\/span> sociales<\/span> pero<\/span> que<\/span>, a la hora<\/span> de demostrar<\/span> su<\/span> amor al cine, le dan<\/span> de lado<\/span> el resto<\/span> del a\u00f1o<\/span>. Gustar\u00e1<\/span> o no, estar\u00e1<\/span> mejor<\/span> o peor<\/span> lograda<\/span>, pero<\/span> \u201cEl ap\u00f3stata\u201d<\/span> forma parte<\/span> de ese<\/span> cine necesario<\/span> para<\/span> que<\/span> el arte<\/span> progrese<\/span>, alejado<\/span> de f\u00f3rmulas<\/span> convencionales<\/span>, de formatos<\/span> pseudotelevisivos<\/span> llevados<\/span> a la gran<\/span> pantalla<\/span>, una<\/span> pel\u00edcula<\/span> que<\/span> hace<\/span> apostas\u00eda<\/span> del lenguaje<\/span> cinematogr\u00e1fico<\/span> al uso<\/span> y busca<\/span> nuevas<\/span> v\u00edas<\/span> de expresi\u00f3n<\/span>.\u00a0 Que<\/span> una<\/span> pel\u00edcula<\/span> premiada<\/span> en San Sebasti\u00e1n<\/span>, con participaci\u00f3n<\/span> espa\u00f1ola<\/span> de calidad<\/span>, con un director de cierto<\/span> renombre<\/span> en el mundo<\/span> del \u201ccine de autor\u201d<\/span> a las<\/span> 6 de la tarde<\/span> de un s\u00e1bado<\/span>\u00a0s\u00f3lo<\/span> re\u00fana<\/span> a dos espectadores<\/span> en una<\/span> sala<\/span> la semana<\/span> de su<\/span> estreno<\/span> significa<\/span> que<\/span> esa<\/span> ciudad<\/span> no se merece<\/span> un calificativo<\/span> elogioso<\/span> por<\/span> su<\/span> cinefilia<\/span>.<\/p>\n

A Federico Veiroj<\/span>, el director uruguayo<\/span>, ya<\/span> se le conoc\u00eda<\/span>, \u201cAcn\u00e9\u201d<\/span> y, sobre<\/span> todo<\/span>, \u201cLa vida<\/span> \u00fatil\u201d<\/span>, un canto a la preservaci\u00f3n<\/span> del cine y un adelanto<\/span> de su<\/span> progresiva<\/span> muerte<\/span> en salas<\/span> y resurrecci\u00f3n<\/span> en otros<\/span> formatos<\/span> a trav\u00e9s<\/span> de un empleado<\/span> de la filmoteca<\/span> uruguaya<\/span> que<\/span> recordaba<\/span> a los personajes<\/span> de Kaurismaki<\/span>, son sus<\/span> pel\u00edculas<\/span> anteriores<\/span>,\u00a0 y adem\u00e1s<\/span> muy<\/span> bien<\/span> recibidas<\/span>, al productor<\/span> Fernando Franco en Espa\u00f1a<\/span> se le deber\u00eda<\/span> recordar<\/span> con m\u00e1s<\/span> afecto<\/span> por<\/span> parte<\/span> del p\u00fablico<\/span> por<\/span> haber<\/span> creado<\/span> en 2013 \u201cLa herida\u201d<\/span>, pero<\/span> no nos enga\u00f1emos<\/span>, hay una<\/span> serie<\/span> de pol\u00edticos<\/span> y de prensa<\/span> que<\/span> han<\/span> hecho<\/span> mucho<\/span> da\u00f1o<\/span> a muchas<\/span> cosas<\/span>, entre<\/span> ellas<\/span> al cine espa\u00f1ol<\/span>, y recuperar<\/span> eso<\/span> no parece<\/span> tarea<\/span> posible<\/span> ni<\/span> inmediata<\/span>, por<\/span> lo menos<\/span> en la \u201cEspa\u00f1a<\/span> interior\u201d. De \u00c1lvaro<\/span> Ogalla<\/span> nada sab\u00eda<\/span>, y su<\/span> presencia<\/span> como<\/span> actor en la pel\u00edcula<\/span> quiz\u00e1<\/span> sea uno<\/span> de sus<\/span> puntos<\/span> d\u00e9biles<\/span>, no como<\/span> coguionista<\/span>, junto<\/span> con Veiroj<\/span>, de este<\/span> esperpento<\/span>, pero<\/span> esperpento<\/span> en el mejor<\/span> sentido<\/span> de la palabra<\/span>, en el valleinclanesco<\/span>, y no como<\/span> sin\u00f3nimo<\/span> de mala<\/span> pel\u00edcula<\/span>, porque<\/span> no lo es<\/span>.<\/p>\n

\u201cEl ap\u00f3stata\u201d<\/span> hunde<\/span> sus<\/span> ra\u00edces<\/span> en lo m\u00e1s<\/span> tradicional<\/span> (y rancio<\/span>) de la cultura<\/span> popular espa\u00f1ola<\/span>, o madrile\u00f1o-manchega<\/span> para<\/span> ser<\/span> m\u00e1s<\/span> exactos<\/span>, pero<\/span> trasvasable<\/span> a muchas<\/span> otras<\/span> zonas<\/span> del pa\u00eds<\/span> (sin ir<\/span> m\u00e1s<\/span> lejos<\/span> la reciente<\/span> Malpartida<\/span> fluxus<\/span> village de Mar\u00eda<\/span> P\u00e9rez<\/span> se rodea<\/span> de un universo<\/span> de iconograf\u00eda<\/span> cat\u00f3lica<\/span> tan reconocible<\/span> en este<\/span> pa\u00eds<\/span> y tan expl\u00edcito<\/span> en El ap\u00f3stata<\/span>) y su<\/span> personaje<\/span> central decide enfrentarse<\/span> contra molinos<\/span> de viento<\/span> que<\/span> terminan<\/span> siendo<\/span> gigantes<\/span>. Su tono<\/span> c\u00f3mico<\/span> no ensombrece<\/span> el poso<\/span> de realidad<\/span> sobre<\/span> el que<\/span> sustenta<\/span> la historia<\/span>, en este<\/span> pa\u00eds<\/span> es<\/span> imposible<\/span> borrarse<\/span> de la iglesia<\/span> cat\u00f3lica<\/span> aunque<\/span> no te<\/span> guste<\/span>, podr\u00e1s<\/span> apostatar<\/span>, podr\u00e1s<\/span> invocar<\/span> al maligno<\/span> en un altar a ver<\/span> si<\/span> alg\u00fan<\/span> trasnochado<\/span> obispo<\/span> te<\/span> excomulga<\/span> (bueno<\/span>, a lo mejor<\/span> esto<\/span> s\u00f3lo<\/span> lo puede<\/span> hacer<\/span> el papa, perdonen<\/span> mi ignorancia<\/span> de derecho<\/span> can\u00f3nico<\/span>, una<\/span> asignatura<\/span> que<\/span> formaba<\/span> parte<\/span> de la licenciatura<\/span> de derecho<\/span> por<\/span> lo menos<\/span> hasta<\/span> 1990, demostrando<\/span> as\u00ed<\/span> la separaci\u00f3n<\/span> estado-iglesia<\/span>) aunque<\/span> de regalo<\/span> te<\/span> puedes<\/span> arriesgar<\/span> tambi\u00e9n<\/span> a una<\/span> denuncia<\/span> por<\/span> ofender<\/span> los sentimientos<\/span> religiosos<\/span> (ya<\/span> sabemos<\/span> que<\/span> s\u00f3lo<\/span> se ofenden<\/span> los sentimientos<\/span> religiosos<\/span> de los cat\u00f3licos<\/span> en este<\/span> pa\u00eds<\/span>, nunca<\/span> los de otras<\/span> confesiones<\/span> ni<\/span> los inexistentes<\/span> de los ateos<\/span>, por<\/span> ejemplo<\/span>).<\/p>\n

Los tribunales<\/span> han<\/span> reconocido<\/span> que<\/span> no se puede<\/span> exigir<\/span> a la iglesia<\/span> cat\u00f3lica<\/span> que<\/span> te<\/span> borre<\/span> de sus<\/span> archivos<\/span> en base a la ley<\/span> de protecci\u00f3n<\/span> de datos<\/span>. Todos<\/span> somos<\/span> iguales<\/span> ante la ley<\/span> pero<\/span> algunos<\/span> siempre<\/span> han<\/span> sido<\/span> m\u00e1s<\/span> iguales<\/span> que<\/span> otros<\/span>, tambi\u00e9n<\/span> pueden<\/span> segregar<\/span> alumnos<\/span> por<\/span> sexo<\/span> y seguir<\/span> disfrutando<\/span> de subvenciones<\/span> p\u00fablicas<\/span>, o despedir<\/span> a profesores<\/span> de religi\u00f3n<\/span> que<\/span> pagamos<\/span> todos<\/span> en funci\u00f3n<\/span> de su<\/span> vida<\/span> privada<\/span>. Consecuencias<\/span> del concordato<\/span>, y de una<\/span> clase<\/span> judicial donde<\/span> predomina<\/span> el conservadurismo<\/span> y el status quo, la iglesia<\/span> sigue<\/span> gozando<\/span> de privilegios<\/span> inatacables<\/span>, y de esos<\/span> privilegios<\/span> el personaje<\/span> de Gonzalo Tamayo<\/span> (\u00c1lvaro<\/span> Ogalla<\/span>) quiere<\/span> desprenderse<\/span>. En una<\/span> vida<\/span> de poco<\/span> control, apalancado<\/span> en una<\/span> adolescencia<\/span> perpetua<\/span> que<\/span> le invita<\/span> a repetir<\/span> una<\/span> y otra<\/span> vez<\/span> unos<\/span> estudios<\/span> de filosof\u00eda<\/span> o de lenguas<\/span> cl\u00e1sicas<\/span>, indefinido<\/span> en materia<\/span> de afectos<\/span>, oprimido<\/span> por<\/span> sus<\/span> padres y la familia<\/span>, en permanente<\/span> enga\u00f1o<\/span> sobre<\/span> su<\/span> inteligencia<\/span> y sus<\/span> resultados<\/span> acad\u00e9micos<\/span>, atrapado<\/span> por<\/span> una<\/span> relaci\u00f3n<\/span> afectiva<\/span> sexual intermitente<\/span> con su<\/span> prima (Marta Larralde<\/span>) y el deseo<\/span> hacia<\/span> su<\/span> vecina<\/span> (Barbara Lennie<\/span>), la ausencia<\/span> de relaciones<\/span> reales<\/span>, s\u00f3lo<\/span> a trav\u00e9s<\/span> de cartas<\/span> con un amigo, la idea de apostatar<\/span> se convierte<\/span> en Gonzalo en un objetivo<\/span> vital, en una<\/span> cruzada<\/span> de negaci\u00f3n<\/span> hacia<\/span> algo<\/span> que<\/span> le molesta<\/span> sobremanera<\/span>, un acto<\/span> de rebeld\u00eda<\/span> personal para<\/span> afirmarse<\/span> como<\/span> ente<\/span> aut\u00f3nomo<\/span> sin renunciar<\/span> a parte<\/span> del bagaje<\/span> religioso<\/span>, ser<\/span> pero<\/span> no estar<\/span>.<\/p>\n

Quiz\u00e1s la interpretaci\u00f3n un tanto et\u00e9rea del propio guionista \u00c1lvaro Ogalla, con esa cara de permanente desubicaci\u00f3n, no ayude al mantenimiento de una l\u00ednea de continua progresi\u00f3n en la historia, de indudable mala leche y de retorcimiento formal aplaudible, pero tambi\u00e9n hay tiempos muertos que rompen la contundencia del mensaje de fondo dot\u00e1ndole de cierta iron\u00eda que hace dudar de las verdaderas intenciones del ap\u00f3stata. Llevar a im\u00e1genes los sue\u00f1os tiene su riesgo indudable, imaginarte a tus padres desnudos en una reuni\u00f3n nudista en la que todo el mundo parece murmurar de ti terminando pareciendo una recreaci\u00f3n salvaje del para\u00edso, o a un obispo ubicuo que te lanza una reprimenda desde los balcones de su residencia tiene su punto morboso y divertido, pero produce cierto baj\u00f3n en lo que se nos cuenta, esa cadencia irregular del ritmo del relato es el principal defecto de la propuesta, una irregularidad que puede venir provocada por ciertos di\u00e1logos o frases muy acad\u00e9micas y escasamente reconocibles en una conversaci\u00f3n \u201cterrenal\u201d.<\/p>\n

\"alt\"Un ser<\/span> individualista<\/span>, ego\u00edsta<\/span>, caprichoso<\/span>, desordenado<\/span>, cuyo<\/span> ideal de apostas\u00eda<\/span> se convierte<\/span> en la forma de reivindicarse<\/span>. Llegando<\/span> tarde<\/span> a casi<\/span> todos<\/span> los sitios<\/span> ser\u00e1<\/span> la iniciativa<\/span> de otros<\/span>, en este<\/span> caso<\/span> de otra<\/span>, la que<\/span> le coloque<\/span> una<\/span> sonrisa<\/span> en la cara<\/span>. Tan f\u00e1cil<\/span> como<\/span> complicado<\/span>, la vida<\/span> de Gonzalo se transforma<\/span> por<\/span> el amor, o la esperanza<\/span> de un amor que<\/span> parece<\/span> llegar<\/span> en la mirada<\/span> de una<\/span> convincente<\/span> Barbara Lennie<\/span> como<\/span> oscuro<\/span> objeto<\/span> del deseo<\/span>. Conseguido<\/span> ese<\/span> deseo<\/span> sin mover un m\u00fasculo<\/span> para<\/span> lograrlo<\/span>, la vida<\/span> de Gonzalo se acelera<\/span> y conseguir\u00e1<\/span> su<\/span> prop\u00f3sito<\/span> por<\/span> la v\u00eda<\/span> de hecho<\/span>, su<\/span> aparente<\/span> indecisi\u00f3n<\/span> se transforma<\/span> en determinaci\u00f3n<\/span>, muchas<\/span> veces<\/span> la \u00fanica<\/span> manera<\/span> de convencer<\/span> al poderoso<\/span>. Razonar<\/span> con quien<\/span> vive del dogma, de la fe<\/span> y de los hechos<\/span> indemostrables<\/span> es<\/span> algo<\/span> imposible<\/span>, siglos<\/span> de experiencia<\/span> colocan<\/span> a cualquier<\/span> mortal en clara<\/span> desventaja<\/span>, por<\/span> eso<\/span> hay que<\/span> romper, cortar<\/span> por<\/span> lo sano<\/span> olvidando<\/span> normas<\/span> y procedimientos<\/span>, rompe<\/span> y rasga<\/span> proporciona<\/span> m\u00e1s<\/span> satisfacci\u00f3n<\/span> que<\/span> a\u00f1os<\/span> de espera<\/span>. Darte<\/span> la vuelta<\/span>, pegar<\/span> un portazo<\/span> y echar<\/span> a correr<\/span> en busca<\/span> de la vida<\/span>, esa<\/span> que<\/span> has desaprovechado<\/span>, quien<\/span> sabe<\/span> porqu\u00e9<\/span> razones<\/span>, durante<\/span> varios<\/span> lustros<\/span>, neg\u00e1ndote<\/span> a madurar<\/span>.<\/p>\n

Divertida, hiriente, \u00e1cida, iconoclasta, pero<\/span> a ratos tambi\u00e9n<\/span> mortecina y desinflada, \u201cEl ap\u00f3stata\u201d<\/span> tiene muchas<\/span> virtudes y algunos<\/span> defectos, pero<\/span> lo principal es<\/span> que<\/span> tiene riesgo y el riesgo hay que<\/span> aplaudirlo en un pa\u00eds<\/span> tan complaciente consigo mismo. No me parece<\/span> un producto perfecto, pero<\/span> por<\/span> momentos llega al notable alto aunque<\/span> en otros<\/span> apenas roce el aprobado, como<\/span> la vida<\/span> del propio Gonzalo, acostumbrado a suspender y que<\/span> finalmente saca nota. Dejando reposar la pel\u00edcula<\/span> el recuerdo mejora, hay que<\/span> dejar respirar la pel\u00edcula<\/span>, acostumbrados al juicio r\u00e1pido e inmediato, y resulta que<\/span> pasados un par de d\u00edas a la memoria vuelven las<\/span> frases acertadas, las<\/span> situaciones complicadas y absurdas, lo pat\u00e9tico del n\u00facleo familiar cuanto m\u00e1s<\/span> grande se hace<\/span> \u00e9ste, la maledicencia propia<\/span> del g\u00e9nero humano y apenas si<\/span> uno<\/span> recuerda alg\u00fan<\/span> momento de impasse, o la interpretaci\u00f3n manifiestamente mejorable del protagonista o ese<\/span> ni\u00f1o necesario<\/span> para<\/span> que<\/span> Gonzalo y la vecina<\/span> puedan intimar pero<\/span> que<\/span> poco<\/span> aporta, salvados por<\/span> los momentos de brillo propio de las<\/span> dos mujeres que<\/span> le acompa\u00f1an, sobre<\/span> todo<\/span> de B\u00e1rbara Lennie<\/span>. Lo dicho, hay que<\/span> animarse a ver<\/span> este<\/span> cine.<\/p>","protected":false},"excerpt":{"rendered":"

Hay pocas cosas m\u00e1s tristes que ir al cine y encontrarse en una sala completamente vac\u00eda. Ego\u00edstamente disfruto m\u00e1s en la soledad de una sala imaginando que es mi propia sala de cine, pero si fuera as\u00ed siempre, el cine no existir\u00eda. Esa ha sido mi experiencia personal viendo \u201cEl […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61,4],"tags":[],"class_list":["post-7906","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\nEl ap\u00f3stata (Federico Veiroj, 2015) - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/el-apostata-federico-veiroj-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El ap\u00f3stata (Federico Veiroj, 2015) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Hay pocas cosas m\u00e1s tristes que ir al cine y encontrarse en una sala completamente vac\u00eda. Ego\u00edstamente disfruto m\u00e1s en la soledad de una sala imaginando que es mi propia sala de cine, pero si fuera as\u00ed siempre, el cine no existir\u00eda. 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