{"id":8136,"date":"2015-10-31T17:23:27","date_gmt":"2015-10-31T17:23:27","guid":{"rendered":"https:\/\/www.revistarambla.com\/seminci-2015-ultimo-pase\/"},"modified":"2024-06-10T20:19:24","modified_gmt":"2024-06-10T18:19:24","slug":"seminci-2015-ultimo-pase","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/seminci-2015-ultimo-pase\/","title":{"rendered":"Seminci 2015. \u00daltimo pase"},"content":{"rendered":"

El balance final de la secci\u00f3n<\/span> a concurso<\/span> Seminci 2015 puede<\/span> calificarse<\/span> de correcto<\/span>, entendiendo<\/span> por<\/span> tal<\/span> un conjunto<\/span> muy<\/span> numeroso<\/span> de pel\u00edculas<\/span> destinadas<\/span> a un consumo<\/span> placentero<\/span> o c\u00f3modo<\/span>, de difusi\u00f3n<\/span> limitada<\/span> pero<\/span> que<\/span> no va<\/span> a molestar<\/span> al espectador<\/span>, ni<\/span> a hacerlo<\/span> pensar<\/span>. Cine en muchas<\/span> ocasiones<\/span> muy<\/span> bien<\/span> intencionado<\/span>, muy<\/span> predestinado<\/span> a lanzar<\/span> una<\/span> idea sea cu\u00e1l<\/span> sea la credibilidad<\/span> final del producto<\/span>, un cine lanzado<\/span> contando<\/span> con red protectora<\/span>, un cine del que<\/span> o va<\/span> a surgir<\/span> ning\u00fan<\/span> Atom Egoyan<\/span>, ning\u00fan<\/span> Kitano, ning\u00fan<\/span> Moretti<\/span>, Loach<\/span>, Davies\u2026ni<\/span> tantos<\/span> otros<\/span> descubiertos<\/span> hace<\/span> muchos<\/span> a\u00f1os<\/span> por<\/span> este<\/span> festival que<\/span> ha perdido<\/span> esa<\/span> iniciativa<\/span> y ese<\/span> valor. Como me suelo<\/span> colocar<\/span> en ese<\/span> espectro<\/span> de espectadores<\/span> calificados<\/span> como<\/span> \u201craros\u201d<\/span>,\u00a0Seminci 2015 me vuelve<\/span> a dejar<\/span> insatisfecho<\/span>. Soy incapaz<\/span> de identificarme<\/span> con esas<\/span> historias<\/span> que<\/span> tanto<\/span> se aplauden<\/span>, con esas<\/span> comedias<\/span> tr\u00e1gicas<\/span> de buen<\/span> final, de buen<\/span> sentimiento<\/span>, con ese<\/span> cine lineal y digerido<\/span> que<\/span> no implica<\/span> esfuerzo<\/span> alguno<\/span>. Debe<\/span> ser<\/span> la est\u00e9tica<\/span> del perdedor<\/span>,\u00a0 \u00e9sa<\/span> que<\/span> me hace<\/span> sentirme<\/span> m\u00e1s<\/span> c\u00f3modo<\/span> viendo<\/span> las<\/span> dos \u00fanicas<\/span> pel\u00edculas<\/span> pateadas<\/span> durante<\/span> el Seminci 2015 que<\/span> la inmensa<\/span> mayor\u00eda<\/span> del resto<\/span>, las<\/span> dos \u00fanicas<\/span> pel\u00edculas<\/span> que<\/span> asum\u00edan<\/span> riesgo<\/span> y diferencia<\/span> y obligaban<\/span> al espectador<\/span> a intentar<\/span> conectar<\/span> hilos<\/span> invisibles<\/span> en los que<\/span> la trama<\/span> se iba<\/span> escondiendo<\/span> y revelando<\/span>, L\u2019art\u00e9ria<\/span> invisible y Tikkun<\/span>. Repito<\/span> lo que<\/span> dije<\/span> al principio<\/span> del Seminci 2015, un p\u00fablico<\/span> cuya<\/span> media de edad<\/span> supera<\/span> con creces<\/span> los 40 a\u00f1os<\/span> conduce a un festival mortecino<\/span> por<\/span> falta<\/span> de renovaci\u00f3n<\/span>, una<\/span> ciudad<\/span> sin una<\/span> sede<\/span> digna<\/span> para<\/span> exhibir<\/span> cine en condiciones<\/span> ha de replantearse<\/span> sus<\/span> necesidades<\/span> de espacios<\/span> culturales<\/span> p\u00fablicos<\/span> ante la vergonzosa<\/span> experiencia<\/span> que<\/span> para<\/span> el visitante<\/span> ha de suponer<\/span> asistir<\/span> a proyecciones<\/span> en un espacio<\/span> tan indigno<\/span> por<\/span> su<\/span> estado<\/span> como<\/span> la subsede<\/span> del Seminci 2015, un festival que<\/span> da<\/span> la espalda<\/span> a sus<\/span> ciclos<\/span> sin conseguir<\/span> programar<\/span> secciones<\/span> paralelas<\/span> potentes<\/span> y novedosas<\/span> pierde<\/span> repercusi\u00f3n<\/span> y un festival de cine que<\/span> no arriesga<\/span> pierde<\/span> parte<\/span> de su<\/span> esencia<\/span>, el cine arriesgado<\/span> no tiene<\/span> porqu\u00e9<\/span> ser<\/span> aburrido<\/span> ni<\/span> incomprensible<\/span>, ni<\/span> echar<\/span> al espectador<\/span>, lo que<\/span> no puede<\/span> ser<\/span> un festival es<\/span> un mero<\/span> adelanto<\/span> de lo que<\/span> se va<\/span> a estrenar<\/span> en las<\/span> salas<\/span> en los meses<\/span> pr\u00f3ximos<\/span> porque<\/span> abandona<\/span> as\u00ed<\/span>, parte<\/span> de su<\/span> sentido<\/span>, y un Seminci 2015 cuya<\/span> \u00fanica<\/span> repercusi\u00f3n<\/span> en la ciudad<\/span> tiene<\/span> lugar<\/span> durante<\/span> la semana<\/span> que<\/span> dura<\/span> el mismo<\/span> tampoco<\/span> est\u00e1<\/span> haciendo<\/span> su<\/span> trabajo<\/span>, un festival como<\/span>\u00a0Seminci 2015 exige<\/span> un cat\u00e1logo<\/span> de actividades<\/span> anual<\/span> que<\/span> mantenga<\/span> viva en el espectador<\/span> la llama del cine de autor<\/span>, de la versi\u00f3n<\/span> original.<\/p>\n

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

LO M\u00c1S<\/span> ARRIESGADO<\/span>. La propuesta<\/span> m\u00e1s<\/span> arriesgada<\/span> del Seminci 2015 ha procedido<\/span> de Israel, \u201cTikkun\u201d<\/span>, de Avishai<\/span> Sivan<\/span>, dos horas<\/span> de ritmo<\/span> muy<\/span> lento y opresivo<\/span> cont\u00e1ndonos<\/span>, en dos partes<\/span> muy<\/span> diferenciadas<\/span>, la vida<\/span> de un ultraortodoxo<\/span> jud\u00edo<\/span> centrado<\/span> en el estudio<\/span> de la religi\u00f3n<\/span> hasta<\/span> que<\/span> un accidente<\/span> dom\u00e9stico<\/span> digno<\/span> de una<\/span> comedia<\/span> gamberra<\/span> le sit\u00faa<\/span> durante<\/span> cuarenta<\/span> minutos<\/span> en el umbral<\/span> de la muerte<\/span>. La persistencia<\/span> del padre, prosiguiendo<\/span> el masaje<\/span> cardiaco<\/span> despu\u00e9s<\/span> de que<\/span> los servicios<\/span> de urgencia<\/span> desistan<\/span>, devuelve<\/span> al joven<\/span> a la vida<\/span>, y con ello<\/span>, surge el caos<\/span>. Al interferir<\/span> en el designio<\/span> divino<\/span>, la vida<\/span> del joven<\/span> estudioso<\/span> se resquebraja<\/span>, se replantea<\/span> si<\/span> la vida<\/span> es<\/span> lo \u00fanico<\/span> que<\/span> ve<\/span> en su<\/span> domicilio<\/span>, en el cen\u00e1culo<\/span> de hombres taciturnos<\/span>, tristes<\/span> e inflexibles<\/span> con los que<\/span> se rodea<\/span>, si<\/span> ser<\/span> creyente<\/span> ha de suponer<\/span> una<\/span> vida<\/span> gris<\/span> en todas<\/span> las<\/span> facetas<\/span>, e intenta<\/span> explorar<\/span> aquello<\/span> que<\/span> hace<\/span> de la vida<\/span> algo<\/span> m\u00e1s<\/span> ligero<\/span>. En su<\/span> obsesi\u00f3n<\/span> por<\/span> descubrir<\/span> a las<\/span> mujeres, por<\/span> saber qu\u00e9<\/span> es<\/span> una<\/span> mujer<\/span>, se convertir\u00e1<\/span> en un personaje<\/span> a\u00fan<\/span> m\u00e1s<\/span> rid\u00edculo<\/span> que<\/span> el de su<\/span> simple presencia<\/span> y contemplaci\u00f3n<\/span> divina<\/span> ya<\/span> supone<\/span>. Su miedo<\/span> y su<\/span> temor<\/span> al sexo<\/span> le coloca<\/span> en situaciones<\/span> l\u00edmite<\/span>, y el director no escatima<\/span> im\u00e1genes<\/span> ni<\/span> explicitudes<\/span>, recrear<\/span> \u201cEl origen<\/span> del mundo\u201d<\/span> de Courbet<\/span> durante<\/span> un plano<\/span> sostenido<\/span> de varios<\/span> minutos<\/span> no es<\/span> para<\/span> cobardes<\/span>. Sivan<\/span> utiliza<\/span> el blanco<\/span> y negro<\/span> para<\/span> retratar<\/span> este<\/span> mundo<\/span>, introduce el onirismo<\/span>, las<\/span> profec\u00edas<\/span> a modo<\/span> de sue\u00f1os<\/span> y pesadillas<\/span> que<\/span> anticipan<\/span> ese<\/span> final que<\/span> reconforta<\/span> a los hombres con su<\/span> dios<\/span> vengativo<\/span> y justiciero<\/span>. \u201cTikkun\u201d<\/span> arriesga<\/span> mucho<\/span> y es<\/span> posible<\/span> que<\/span> el resultado<\/span> final no sea redondo<\/span>, pero<\/span> juega<\/span> al todo<\/span> o nada con una<\/span> idea muy<\/span> precisa<\/span> y personal, es<\/span> el cine que<\/span> no dar\u00e1<\/span> dinero<\/span> ni<\/span> se estrenar\u00e1<\/span> comercialmente<\/span>, pero<\/span> es<\/span> la labor de un festival revelarlo<\/span>. 63\/100.<\/p>\n

\"Seminci<\/p>\n

LO CONVENCIONAL<\/span>.- En el polo opuesto<\/span> se encuentran<\/span> dos de las<\/span> producciones<\/span> m\u00e1s<\/span> aplaudidas<\/span>, por<\/span> un lado<\/span> el drama hist\u00f3rico<\/span> \u201cElser\u201d<\/span> de Oliver Hirschbiegel<\/span>, el de la pel\u00edcula<\/span> \u201cEl hundimiento\u201d<\/span>, que<\/span> relata<\/span> con correcci\u00f3n<\/span> y minuciosidad<\/span>, el intento<\/span> de atentado<\/span> en octubre<\/span> de 1939 en la cervecer\u00eda<\/span> de Munich que<\/span> quiso<\/span> acabar<\/span> con Hitler a manos<\/span> de un relojero<\/span>, el Georg Elser<\/span> del t\u00edtulo<\/span>. La pel\u00edcula<\/span> se forma a trav\u00e9s<\/span> de numerosos<\/span> y largos \u201cflashbacks\u201d que<\/span> tratan<\/span> de darnos<\/span> la informaci\u00f3n<\/span> de porqu\u00e9<\/span> este<\/span> relojero<\/span> y m\u00fasico<\/span> alem\u00e1n<\/span> llega<\/span> al convencimiento<\/span> de que<\/span> s\u00f3lo<\/span> si<\/span> se acaba<\/span> con Hitler<\/a>, el mundo<\/span> podr\u00e1<\/span> ser<\/span> algo<\/span> m\u00e1s<\/span> seguro<\/span> y decente<\/span>. Estar\u00edamos<\/span> ante el visionario<\/span> decidido<\/span>, sacrificado<\/span>, el que<\/span> viendo<\/span> el origen<\/span> del mal sin haberlo<\/span> sufrido<\/span> en primera<\/span> persona asume<\/span> que<\/span> hay acciones<\/span> malas<\/span> necesarias<\/span> para<\/span> evitar<\/span> un mal mayor. Y sin embargo este<\/span> didactismo<\/span> del director me resulta<\/span> insuficiente<\/span>, no se llega<\/span> a capturar<\/span> esa<\/span> esencia<\/span> decisiva<\/span> perdida<\/span> entre<\/span> una<\/span> historia<\/span> de amor con una<\/span> mujer<\/span> casada<\/span> y las<\/span> afinidades<\/span> comunistas<\/span> del protagonista<\/span>, todo<\/span> ello<\/span> entremezclado<\/span> con los interrogatorios<\/span> de la Kripo<\/span> y la Gestapo, que<\/span> se niegan<\/span> a asumir<\/span> que<\/span> una<\/span> sola<\/span> persona fuera<\/span> capaz<\/span> de haber<\/span> acabado<\/span> con el F\u00fchrer<\/span> sin ayuda<\/span> de m\u00e1s<\/span> colaboradores<\/span>. La peor<\/span> sensaci\u00f3n<\/span> es<\/span> la de introducir<\/span> una<\/span> cierta<\/span> empat\u00eda<\/span> entre<\/span> el preso<\/span> y el jefe<\/span> de la Polic\u00eda<\/span> Criminal, Arthur Nebe<\/span> (el jefe<\/span> del detective G\u00fanther<\/span> de las<\/span> novelas<\/span> de Philipp Kerr). 50\/100.<\/p>\n

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

Otro<\/span> tanto<\/span> de anodino<\/span> dentro<\/span> de lo correcto<\/span> puede<\/span> decirse<\/span> de la producci\u00f3n<\/span> francoturca<\/span>, \u201cMustang\u201d de Demi Ganze<\/span>, la historia<\/span> de cinco<\/span> j\u00f3venes<\/span> hermanas<\/span> hu\u00e9rfanas<\/span> que<\/span> viven<\/span> en plena libertad<\/span> de acciones<\/span>, hasta<\/span> que<\/span> los murmullos<\/span> en el pueblo en el que<\/span> viven<\/span> hacen<\/span> reaccionar<\/span> a la familia<\/span> para<\/span> producirse<\/span> un progresivo<\/span> encierro<\/span>, limitando<\/span> poco<\/span> a poco<\/span> su<\/span> juventud<\/span> y sus<\/span> deseos<\/span>, priv\u00e1ndolas<\/span> del estudio<\/span>, oblig\u00e1ndolas<\/span> a abandonar<\/span> sus<\/span> vaqueros, a dejar<\/span> de jugar<\/span> con los chicos<\/span>, a someterse<\/span> a la dictadura<\/span> de una<\/span> familia<\/span> y una<\/span> religi\u00f3n<\/span> que<\/span> esclaviza<\/span> a todas<\/span> las<\/span> mujeres, y eso<\/span>\u00a0 en un pa\u00eds<\/span>, Turqu\u00eda<\/span>, donde<\/span> a\u00fan<\/span> la mujer<\/span> puede<\/span> encontrar<\/span> espacios<\/span> para<\/span> vivir<\/span> en igualdad<\/span> de condiciones<\/span>, igualdad<\/span> cada<\/span> vez<\/span> m\u00e1s<\/span> amenazada<\/span>. Por<\/span> eso<\/span> Estambul<\/span> es<\/span> el objetivo<\/span>, el deseo<\/span>, el sin\u00f3nimo<\/span> de libertad<\/span> al que<\/span> dirigirse<\/span> todas<\/span> ellas<\/span>. Los ecos<\/span> de \u201cLas v\u00edrgenes<\/span> suicidas\u201d<\/span> de Sof\u00eda<\/span> Coppola<\/span>, y retazos<\/span> de otras<\/span> historias<\/span> de cine iran\u00ed<\/span> como<\/span> \u201cOff side\u201d de Jafar<\/span> Panahi<\/span> est\u00e1n<\/span> muy<\/span> presentes<\/span>. La pel\u00edcula<\/span> juega<\/span> al tono<\/span> amable<\/span> de comedia<\/span> en la que<\/span> va<\/span> aumentando<\/span> el drama y sabe<\/span> conectar<\/span> con el gran<\/span> p\u00fablico<\/span>, cuenta<\/span> con cinco<\/span> j\u00f3venes<\/span> actrices<\/span> que<\/span> llenan<\/span> la pantalla<\/span> con espontaneidad<\/span> pero<\/span> no me convence<\/span> ni<\/span> la forma ni<\/span> la resoluci\u00f3n<\/span> facilona<\/span> y simplista<\/span>, ajena<\/span> a cualquier<\/span> verosimilitud<\/span> posible<\/span> en un mundo<\/span> cerrado<\/span> y claustrof\u00f3bico<\/span>. 45\/100<\/p>\n

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

EL OUTSIDER.- F\u00daSI<\/span>, tambi\u00e9n<\/span> titulada<\/span> en ingl\u00e9s<\/span> \u201cVirgin Mountain\u201d, pel\u00edcula<\/span> islandesa<\/span> de Dagur<\/span> Kari ha sido<\/span> una<\/span> de las<\/span> propuestas<\/span> m\u00e1s<\/span> redondas<\/span> del Seminci 2015. Si \u201cRams\u201d ven\u00eda<\/span> con mayor aureola<\/span> de vencedora<\/span>, tambi\u00e9n<\/span> islandesa<\/span>, me ha convencido<\/span> mucho<\/span> m\u00e1s<\/span> la historia<\/span> de este<\/span> bonach\u00f3n<\/span> personaje<\/span>, encerrado<\/span> en su<\/span> mundo<\/span> y sin ning\u00fan<\/span> inter\u00e9s<\/span> en entablar<\/span> relaciones<\/span> que<\/span> pueden<\/span> herirle<\/span>. Asfixiado<\/span> por<\/span> una<\/span> madre<\/span> castradora<\/span>, entretenido<\/span> con sus<\/span> maquetas<\/span> de recreaciones<\/span> de batallas<\/span> hist\u00f3ricas<\/span> y con un amigo con el que<\/span> compartir<\/span> alguna<\/span> tarde<\/span> en confianza<\/span>, Fusi<\/span> es<\/span> el prototipo<\/span> del perdedor<\/span> que<\/span> no puede<\/span> ser<\/span> nunca<\/span> el h\u00e9roe<\/span>. Empujado<\/span> a hacer<\/span> lo que<\/span> todos<\/span> tienen<\/span> que<\/span> hacer<\/span>, y sin pretenderlo<\/span>, es<\/span> capaz<\/span> de conectar<\/span> con alguna<\/span> persona tan solitaria<\/span> y quebradiza<\/span> como<\/span> \u00e9l<\/span>. Fusi<\/span> acepta<\/span> los reveses<\/span> y las<\/span> malas<\/span> experiencias<\/span> con un estoicismo<\/span> digno<\/span> de un par de bofetadas<\/span> para<\/span> que<\/span> reaccione<\/span>, agitarle<\/span> por<\/span> los hombros<\/span> para<\/span> que<\/span> se tome un gin-tonic<\/span> en vez<\/span> de un vaso<\/span> de leche<\/span>. Si se atreve<\/span> a cambiar<\/span> de domicilio<\/span>, una<\/span> eventualidad<\/span> le volver\u00e1<\/span> a colocar<\/span> en la casilla<\/span> de salida<\/span>, si<\/span> se interesa<\/span> por<\/span> una<\/span> ni\u00f1a<\/span> que<\/span> pasa<\/span> sola<\/span> todas<\/span> las<\/span> tardes,<\/span> la sospecha<\/span> de la pederastia<\/span> le sobrevolar\u00e1<\/span>, si<\/span> intenta<\/span> tener<\/span> novia<\/span> su<\/span> madre<\/span> le reprochar\u00e1<\/span> que<\/span> piensa<\/span> dejarla<\/span> sola<\/span>. Fusi<\/span> es<\/span> el prototipo<\/span> de una<\/span> buena<\/span> persona, de un hombre bueno<\/span> que<\/span>, finalmente<\/span>, decide empezar<\/span> a hacer<\/span> lo que<\/span> le apetece<\/span>, aunque<\/span> sea en soledad<\/span> y poniendo<\/span> buena<\/span> cara<\/span>. El soberbio<\/span> trabajo<\/span> del actor principal basta<\/span> para<\/span> llenar<\/span> la historia<\/span> con su<\/span> sola<\/span> presencia<\/span>, la fr\u00eda<\/span> noche<\/span> islandesa<\/span> y el fr\u00edo<\/span> ambiente<\/span> ayudan<\/span> a comprender<\/span> el enclaustramiento<\/span> de este<\/span> personaje<\/span> que<\/span> no quiere<\/span> bailar<\/span>, y menos<\/span> ese<\/span> rid\u00edculo<\/span> baile<\/span> yanqui<\/span> con sombrero vaquero. Pr\u00f3ximo<\/span> su<\/span> estreno<\/span> es<\/span> una<\/span> recomendaci\u00f3n<\/span> para<\/span> cualquier<\/span> tipo<\/span> de p\u00fablico<\/span>. 73\/100<\/p>","protected":false},"excerpt":{"rendered":"

El balance final de la secci\u00f3n a concurso Seminci 2015 puede calificarse de correcto, entendiendo por tal un conjunto muy numeroso de pel\u00edculas destinadas a un consumo placentero o c\u00f3modo, de difusi\u00f3n limitada pero que no va a molestar al espectador, ni a hacerlo pensar. Cine en muchas ocasiones muy […]<\/p>\n","protected":false},"author":3,"featured_media":8135,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61],"tags":[],"class_list":["post-8136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cine"],"yoast_head":"\nSeminci 2015. \u00daltimo pase - Revista Rambla<\/title>\n<meta name=\"description\" content=\"El balance final de la secci\u00f3n a concurso Seminci 2015 puede calificarse de correcto, pero me vuelve a dejar insatisfecho.\" \/>\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-ultimo-pase\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Seminci 2015. \u00daltimo pase - 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