{"id":8083,"date":"2015-10-27T16:53:37","date_gmt":"2015-10-27T16:53:37","guid":{"rendered":"https:\/\/www.revistarambla.com\/seminci-2015-segunda-sesion\/"},"modified":"2021-04-13T17:27:12","modified_gmt":"2021-04-13T15:27:12","slug":"seminci-2015-segunda-sesion","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/seminci-2015-segunda-sesion\/","title":{"rendered":"Seminci 2015 (segunda sesi\u00f3n)"},"content":{"rendered":"

De tanto<\/span> leer \u201cun certain regard\u201d al comienzo<\/span> de muchas<\/span> de las<\/span> proyecciones<\/span> de la secci\u00f3n<\/span> oficial<\/span> uno<\/span> siente<\/span> la tentaci\u00f3n<\/span> de creerse<\/span> en la Costa Azul<\/span> y en el mes<\/span> de mayo, pero<\/span> no, el espejismo<\/span> es<\/span> pasajero<\/span>, el vino de la Ribera<\/span> puede<\/span> ser<\/span> mejor<\/span> que<\/span> el de Provenza-C\u00f4te<\/span> d,Azur<\/span>, pero<\/span> ni<\/span> la temperatura<\/span> se parece<\/span> a la del mayo franc\u00e9s<\/span> ni<\/span> el festival puede<\/span> competir<\/span>. Si fuera<\/span> organizador<\/span> del festival me producir\u00eda<\/span> pavor<\/span> la edad<\/span> media del p\u00fablico<\/span>, m\u00e1s<\/span> que<\/span> nada pensando<\/span> en el futuro<\/span>. C\u00f3mo<\/span> conseguir<\/span> renovaci\u00f3n<\/span> de p\u00fablico<\/span> puede<\/span> ser<\/span> una<\/span> pregunta<\/span> diab\u00f3lica<\/span> sin soluci\u00f3n<\/span> cuando<\/span> los j\u00f3venes<\/span> son capaces<\/span> de ver<\/span> pel\u00edculas<\/span> en las<\/span> pantallas<\/span> de sus<\/span> m\u00f3viles<\/span> y son incapaces<\/span> de permanecer<\/span> hora<\/span> y media o dos horas<\/span> sin consultar<\/span> las<\/span> pantallas<\/span> mientras<\/span> continua la proyecci\u00f3n<\/span>. Indudablemente<\/span> los precios<\/span> pueden<\/span> influir<\/span>, hay sesiones<\/span> con precios<\/span> m\u00e1s<\/span> altos que<\/span> los de las<\/span> salas<\/span> comerciales<\/span>, no me parece<\/span> una<\/span> manera<\/span> l\u00f3gica<\/span> de atraer<\/span> nuevos<\/span> espectadores<\/span> hacia<\/span> un cine diferente<\/span>. Mediado<\/span> el festival no hay sorpresas<\/span>, lo que<\/span> tra\u00eda<\/span> buen<\/span> cartel confirma<\/span> las<\/span> expectativas<\/span> y lo que<\/span> era desconocido<\/span> o daba<\/span> malos<\/span> presentimientos<\/span> confirma<\/span> su<\/span> car\u00e1cter<\/span> lineal o poco<\/span> atractivo<\/span>. Hasta<\/span> ahora<\/span> sigo<\/span> pensando<\/span> que<\/span> lo mejor<\/span> del festival han<\/span> sido<\/span> \u201c45 years\u201d y \u201cAn\u201d, a las<\/span> que<\/span> hay que<\/span> unir<\/span>, quiz\u00e1s<\/span> un poco<\/span> por<\/span> debajo<\/span> de estas<\/span> dos, la islandesa<\/span> \u201cHrutar\u201d<\/span>.<\/p>\n

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

\u201cUne<\/span> histoire<\/span> de fou\u201d<\/span><\/b>, de Robert Guediguian<\/span> es<\/span> una<\/span> decepci\u00f3n<\/span>, entre<\/span> comillas<\/span>, porque<\/span> Guediguian<\/span> alterna<\/span> pel\u00edculas<\/span> aceptables<\/span> con aut\u00e9nticos<\/span> bodrios<\/span>. El genocidio<\/span> armenio<\/span> le viene<\/span> grande<\/span> al director franc\u00e9s<\/span>, uno<\/span> de los \u201cadoptados\u201d<\/span> de la Seminci<\/span> que<\/span> contin\u00faa<\/span> fiel<\/span> al festival. Un pre\u00e1mbulo<\/span> muy<\/span> largo y de dudosa<\/span> moralidad<\/span> pretende<\/span> situar<\/span> el origen<\/span> de los acontecimientos<\/span> posteriores<\/span>. El origen<\/span> de un terrorismo<\/span> armenio<\/span> en los a\u00f1os<\/span> 70 contra intereses<\/span> turcos<\/span>, y la progresiva<\/span> extensi\u00f3n<\/span> de las<\/span> acciones<\/span> por<\/span> Occidente<\/span> para<\/span> situar<\/span> la realidad<\/span> del pueblo armenio<\/span>, coloca<\/span> a la pel\u00edcula<\/span> en una<\/span> diversidad<\/span> de opciones<\/span>, de historias<\/span>, de versiones<\/span> de lo que<\/span> se puede<\/span> hacer<\/span> con la violencia<\/span> que<\/span> termina<\/span> por<\/span> hacer<\/span>, de la pel\u00edcula<\/span>, un batiburrillo<\/span> moral sin decantarse<\/span> por<\/span> ninguna<\/span> de todas<\/span> ellas<\/span>, forzando<\/span> lo impostado<\/span>, lo decorativo<\/span>, lo inane. Lo forzado<\/span> del planteamiento<\/span> har\u00e1<\/span> las<\/span> delicias<\/span> de la l\u00ednea<\/span> oficial<\/span> del partido<\/span> gobernante<\/span> por<\/span> la que<\/span> los terroristas<\/span> han<\/span> de pedir<\/span> perd\u00f3n<\/span> a las<\/span> v\u00edctimas<\/span>, pero<\/span> deja<\/span> la pel\u00edcula<\/span> es<\/span> un suced\u00e1neo<\/span> casposo<\/span> de \u201cCu\u00e9ntame\u201d<\/span> a cuyos<\/span> personajes<\/span>, el paso<\/span> de los a\u00f1os<\/span>, no les afecta<\/span>, ni<\/span> f\u00edsica<\/span> ni<\/span> psicol\u00f3gicamente<\/span>, porque<\/span> los ni\u00f1os<\/span> se mantienen<\/span> ni\u00f1os<\/span> 10 a\u00f1os<\/span> despu\u00e9s<\/span>.<\/p>\n

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

\u201cAurora\u201d<\/b>, pel\u00edcula<\/span> chilena<\/span> de Rodrigo Sep\u00falveda<\/span> retoma<\/span> el tema<\/span> de la maternidad<\/span> desde<\/span> el punto<\/span> de vista m\u00e1s<\/span> morboso<\/span> y enfermizo<\/span>. Pel\u00edcula<\/span> aburrida<\/span> y mortecina<\/span>, reiterativa<\/span> y obsesiva<\/span> como<\/span> su<\/span> protagonista<\/span>, a Sof\u00eda<\/span> la maternidad<\/span> le es<\/span> esquiva<\/span>, es<\/span> un personaje<\/span> en quien<\/span> advertimos<\/span> muchos<\/span> traumas de su<\/span> pasado<\/span>, pero<\/span> que<\/span> el director no nos quiere<\/span> contar<\/span> para<\/span> quebrar<\/span> la resistencia<\/span> del espectador<\/span>, que<\/span> se va<\/span> a quedar<\/span> en la superficie<\/span> sin ganas<\/span>, ni<\/span> inter\u00e9s<\/span>, en ahondar<\/span> en lo que<\/span> se le quiere<\/span> hacer<\/span> permanecer<\/span> en la sombra<\/span>. En pleno<\/span> proceso<\/span> de adopci\u00f3n<\/span>, Sof\u00eda<\/span> lee la noticia<\/span> de un beb\u00e9<\/span> arrojado<\/span> muerto<\/span> en un vertedero<\/span>, el beb\u00e9<\/span> se convertir\u00e1<\/span> en la Aurora del t\u00edtulo<\/span>. La obsesi\u00f3n<\/span> de Sof\u00eda<\/span> a partir<\/span> de entonces<\/span> ser\u00e1<\/span> la de conseguir<\/span> enterrar<\/span> a ese<\/span> beb\u00e9<\/span> que<\/span> las<\/span> autoridades<\/span> van a quemar<\/span>. El sinsentido<\/span>, pese<\/span> a que<\/span> se recalca<\/span> que<\/span> la historia<\/span> se basa<\/span> en hechos<\/span> reales<\/span>, surgir\u00e1<\/span> cuando<\/span> ante la imposibilidad<\/span> de hacerse<\/span> cargo de un cuerpo<\/span> que<\/span> no es<\/span> de su<\/span> familia<\/span>, Sof\u00eda<\/span> comience<\/span> los tr\u00e1mites<\/span> de adopci\u00f3n<\/span> del cad\u00e1ver<\/span>. Es<\/span> la historia<\/span> de una<\/span> obsesi\u00f3n<\/span>, de un mundo<\/span> y una<\/span> mente<\/span> claustrof\u00f3bica<\/span>, ambientado<\/span> por<\/span> la luz<\/span> apagada<\/span> del hemisferio<\/span> austral a punto<\/span> de comenzar<\/span> el invierno<\/span>. Un fr\u00edo<\/span> externo<\/span> que<\/span> hace<\/span> tiempo<\/span>\u00a0 se adue\u00f1\u00f3<\/span> de Sof\u00eda<\/span>, justo<\/span> desde<\/span> que<\/span> fue<\/span> violada<\/span> siendo<\/span> una<\/span> ni\u00f1a<\/span>, y abort\u00f3<\/span>, \u201cAurora pudo<\/span> ser<\/span> esa<\/span> ni\u00f1a\u201d<\/span> es<\/span> la revelaci\u00f3n<\/span> m\u00e1s<\/span> franca que<\/span> Sof\u00eda<\/span> contar\u00e1<\/span> de su<\/span> pasado<\/span> y de su<\/span> presente<\/span>.<\/p>\n

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

\u201cNahid\u201d<\/span><\/b> de Ida Panahandeh<\/span> es<\/span> la contribuci\u00f3n<\/span> iran\u00ed<\/span> a este<\/span> festival, alejada<\/span> de la sensibilidad<\/span> y po\u00e9tica<\/span> de Kiarostami<\/span> o de la radicalidad<\/span> combativa<\/span> de Panahi<\/span> y los Makmalbaf<\/span>, la pel\u00edcula<\/span> vuelve<\/span> a otorgar<\/span> el protagonismo<\/span> a una<\/span> mujer<\/span> por<\/span> la que<\/span> resulta<\/span> complicado<\/span> empatizar<\/span> a la vista de su<\/span> comportamiento<\/span>. Nahid<\/span> est\u00e1<\/span> divorciada<\/span> de su<\/span> marido<\/span>, pero<\/span> con condiciones<\/span>, para<\/span> mantener<\/span> la custodia<\/span> de un hijo<\/span> problem\u00e1tico<\/span> tiene<\/span> prohibido<\/span> casarse<\/span>. Esta<\/span> limitaci\u00f3n<\/span>, en un pa\u00eds<\/span> como<\/span> Ir\u00e1n<\/span>, donde<\/span> el hecho<\/span> de ser<\/span> divorciada<\/span> ya<\/span> es<\/span> un h\u00e1ndicap<\/span>, coloca<\/span> a Nahid<\/span> en la clandestinidad<\/span> para<\/span> poder<\/span> rehacer<\/span> su<\/span> vida<\/span>. Nahid<\/span> fluct\u00faa<\/span> entre<\/span> el personaje<\/span> amparable<\/span> y retrato<\/span> de lo poco<\/span> que<\/span> vale ser<\/span> mujer<\/span> en un r\u00e9gimen<\/span> isl\u00e1mico<\/span> y el personaje<\/span> que<\/span> se vuelve<\/span> odioso<\/span> en el ejercicio<\/span> de su<\/span> ego\u00edsmo<\/span> y del enga\u00f1o<\/span> para<\/span> ir<\/span> trampeando<\/span> su<\/span> vida<\/span> diaria<\/span>. Si la situaci\u00f3n<\/span> le ha hecho<\/span> as\u00ed<\/span> o si<\/span> ya<\/span> lo era antes de los desenga\u00f1os<\/span> no lo sabremos<\/span>. La pel\u00edcula<\/span> se convierte<\/span> en un c\u00edrculo<\/span> infinito<\/span> sin soluci\u00f3n<\/span>, terminaremos<\/span> en la playa del principio<\/span> y en la casilla<\/span> de salida<\/span>. Sin saber si<\/span> realmente<\/span> est\u00e1<\/span> enamorada<\/span> del hombre con quien<\/span> mantiene<\/span> un matrimonio<\/span> temporal para<\/span> burlar<\/span> la prohibici\u00f3n<\/span> de casarse<\/span> o si<\/span> lo que<\/span> busca<\/span> es<\/span> alguien<\/span> que<\/span> pague<\/span> sus<\/span> deudas<\/span> y viva con un alto nivel<\/span> de vida<\/span>. La familia<\/span> y la religi\u00f3n<\/span> como<\/span> trabas<\/span> a la libertad<\/span> de la mujer<\/span>. Aceptable<\/span> pel\u00edcula<\/span> con una<\/span> int\u00e9rprete<\/span> que<\/span> destaca<\/span> en esa<\/span> desesperaci\u00f3n<\/span>, Sareh<\/span> Bayat<\/span>.<\/p>\n

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

\u201cDie abhandene<\/span> welt\u201d<\/b>, un mundo<\/span> abandonado<\/span> el de la \u00faltima<\/span> pel\u00edcula<\/span> de Margaretthe<\/span> von Trotta<\/span>, la directora<\/span> alemana<\/span> se aleja<\/span> del cine de lucha<\/span>, del cine reivindicativo<\/span>, y se adentra<\/span> en el melodrama con toques de suspense. Notable pel\u00edcula<\/span> cuyo<\/span> mayor d\u00e9ficit<\/span>, am\u00e9n<\/span> de situaciones<\/span> de cara<\/span> a la galer\u00eda<\/span> para<\/span> justificar<\/span> (mal) que<\/span> la acci\u00f3n<\/span> avance<\/span>, es<\/span> que<\/span> una<\/span> vez<\/span> revelada<\/span> la duda<\/span>, el origen<\/span> de la inc\u00f3gnita<\/span>, queda<\/span> por<\/span> delante<\/span> m\u00e1s<\/span> de media hora<\/span> donde<\/span> el relato<\/span> se vuelve<\/span> mucho<\/span> m\u00e1s<\/span> convencional<\/span>. La hija<\/span> que<\/span> recibe<\/span> el encargo<\/span> de su<\/span> padre para<\/span> que<\/span> se desplace<\/span> a Nueva<\/span> York y sepa<\/span> qui\u00e9n<\/span> es<\/span> realmente<\/span> esa<\/span> cantante<\/span> de \u00f3pera<\/span> que<\/span> parece<\/span> un clon<\/span> de la esposa<\/span> ya<\/span> muerta<\/span>. A la Seminci<\/span> le encantan<\/span> los dramas familiares<\/span> y la familia<\/span> como<\/span> fuente<\/span> de conflicto<\/span>. La Sophie que<\/span> recibe<\/span> el encargo<\/span> ir\u00e1<\/span> obteniendo<\/span> informaci\u00f3n<\/span> al mismo<\/span> tiempo<\/span> que<\/span> nosotros<\/span>, desconocedora<\/span>, al principio<\/span>, de que<\/span> todas<\/span> las<\/span> personas con las<\/span> que<\/span> se cruza<\/span> tienen<\/span> datos<\/span> ocultos<\/span> que<\/span> no ha\u00a0 querido<\/span> revelar<\/span>, incluso<\/span> ese<\/span> padre que<\/span> se hace<\/span> el sorprendido<\/span> es<\/span> la clave<\/span> de la trama<\/span>. Destacables<\/span> las<\/span> dos actrices<\/span>, B\u00e1rbara<\/span> Sukowa<\/span> y Katja<\/span> Riemann<\/span>.<\/p>\n

\u201cDegrad\u00e9\u201d<\/span><\/b> de los hermanos<\/span> Nasser, de nacionalidad<\/span> palestina<\/span>, no merece<\/span> m\u00e1s<\/span> comentario<\/span>.<\/p>\n

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

\u201cHrutar\u201d<\/span><\/b> de Grimur<\/span> H\u00e4kornarson<\/span> (para<\/span> Espa\u00f1a<\/span> ser\u00e1<\/span> El valle<\/span> de los carneros\u201d<\/span>) se incorpora<\/span> a mi lista<\/span> de pel\u00edculas<\/span> favoritas<\/span>. La historia<\/span> de dos hermanos<\/span> enfrentados<\/span> desde<\/span> hace<\/span> m\u00e1s<\/span> de 40 a\u00f1os<\/span> en un valle<\/span> que<\/span> vive de la crianza<\/span> de ovejas<\/span>, unos<\/span> nuevos<\/span> Ca\u00edn<\/span> y Abel sin llegar<\/span> a saber quien<\/span> es<\/span> quien<\/span> de los dos, ya<\/span> que<\/span> ambos<\/span> tiene<\/span> un poco<\/span> de cada<\/span> uno<\/span>, un valle<\/span> al que<\/span> ha llegado<\/span> una<\/span> enfermedad<\/span> que<\/span> ataca<\/span> al cerebro<\/span> y la m\u00e9dula<\/span> del ganado<\/span> y que<\/span> obliga<\/span> a sacrificar<\/span> todas<\/span> las<\/span> cabezas<\/span> sumiendo<\/span> a los habitantes<\/span> en la desesperaci\u00f3n<\/span>, el abandono<\/span> de las<\/span> explotaciones<\/span> o el alcoholismo<\/span>. Con notables tonos<\/span> de humor negro<\/span>, (la enfermedad<\/span> procede<\/span> de ganado<\/span> brit\u00e1nico<\/span>, como<\/span> los planes de pensiones<\/span> e inversiones<\/span> que<\/span> motivaron<\/span> la quiebra<\/span> del pa\u00eds<\/span>, un ejemplo<\/span> de c\u00f3mo<\/span> superar<\/span> una<\/span> crisis econ\u00f3mica<\/span> sin cebarse<\/span> en los de siempre<\/span>, un pa\u00eds<\/span> mantenido<\/span> en pleno<\/span> silencio<\/span> informativo<\/span> por<\/span> la prensa<\/span> amiga<\/span> no sea que<\/span> se fuera<\/span> a extender el ejemplo<\/span>) con un adecuado<\/span> uso<\/span> del paisaje<\/span> para<\/span> destacar<\/span> la inmensidad<\/span> del entorno<\/span> y lo duro<\/span> de las<\/span> condiciones<\/span> de vida<\/span>, en pr\u00e1ctica<\/span> soledad<\/span> y con nula<\/span> posibilidad<\/span> de diversi\u00f3n<\/span>, la pel\u00edcula<\/span> deja<\/span> ver<\/span> claramente<\/span> que<\/span>, finalmente<\/span>, se producir\u00e1<\/span> el deshielo<\/span> y esos<\/span> hermanos<\/span> estar\u00e1n<\/span>\u00a0 obligados<\/span> a reencontrarse<\/span>. Durante<\/span> a\u00f1os<\/span> se han<\/span> comportado<\/span> como<\/span> carneros<\/span> y no han<\/span> faltado<\/span> los choques<\/span> de cabeza<\/span>, al final, volver<\/span> al \u00fatero<\/span> materno<\/span> en forma de igl\u00fa<\/span> improvisado<\/span> puede<\/span> ser<\/span> la \u00fanica<\/span> manera<\/span> de recuperar<\/span> el tiempo<\/span> perdido<\/span> y empezar<\/span> de nuevo<\/span> como<\/span> hermanos<\/span>.<\/p>","protected":false},"excerpt":{"rendered":"

De tanto leer \u201cun certain regard\u201d al comienzo de muchas de las proyecciones de la secci\u00f3n oficial uno siente la tentaci\u00f3n de creerse en la Costa Azul y en el mes de mayo, pero no, el espejismo es pasajero, el vino de la Ribera puede ser mejor que el de […]<\/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-8083","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\nSeminci 2015 (segunda sesi\u00f3n) - 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\/seminci-2015-segunda-sesion\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Seminci 2015 (segunda sesi\u00f3n) - 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