{"id":8148,"date":"2015-11-02T07:54:22","date_gmt":"2015-11-02T07:54:22","guid":{"rendered":"https:\/\/www.revistarambla.com\/3-coeurs-tres-corazones-benoit-jacquot-2014\/"},"modified":"2021-04-12T21:24:21","modified_gmt":"2021-04-12T19:24:21","slug":"3-coeurs-tres-corazones-benoit-jacquot-2014","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/3-coeurs-tres-corazones-benoit-jacquot-2014\/","title":{"rendered":"3 Coeurs (Tres corazones, Benoit Jacquot, 2014)"},"content":{"rendered":"

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

La vida<\/span> puede<\/span> ser<\/span> muy<\/span> exagerada<\/span> pero<\/span> al llevarla<\/span> al cine hay que<\/span> tener<\/span> cuidado<\/span>, porque<\/span> un exceso<\/span> de exageraci\u00f3n<\/span> puede<\/span> truncar<\/span> el resultado<\/span> de la obra<\/span>. A Mark le gusta<\/span> forzar<\/span> la casualidad<\/span>, le gustan<\/span> las<\/span> mujeres y le gusta<\/span> el juego<\/span> de la seducci\u00f3n<\/span>. No obstante<\/span>, su<\/span> vida<\/span> est\u00e1<\/span> vac\u00eda<\/span>, ese<\/span> pasado<\/span> que<\/span> queda<\/span> fuera<\/span> de campo<\/span> nos advierte<\/span> de muchas<\/span> rupturas<\/span>, muchas<\/span> heridas<\/span>, muchas<\/span> lesiones<\/span> como<\/span> las<\/span> de su<\/span> coraz\u00f3n<\/span>, amenazado<\/span> por<\/span> la angustia<\/span>, el stress, el agobio<\/span> de la p\u00e9rdida<\/span>. En una<\/span> de sus<\/span> muchas<\/span> p\u00e9rdidas<\/span>, Mark, una<\/span> noche<\/span>, pierde<\/span> el tren<\/span> que<\/span> ha de llevarle<\/span> de vuelta<\/span> a Par\u00eds<\/span> desde<\/span> una<\/span> capital de provincias<\/span> a la que<\/span> ha ido<\/span> por<\/span> trabajo<\/span>. Pod\u00eda<\/span> haber<\/span> preguntado<\/span> al camarero<\/span> por<\/span> alg\u00fan<\/span> hotel cercano<\/span>, pero<\/span> resulta<\/span> mucho<\/span> m\u00e1s<\/span> prometedor<\/span> seguir<\/span> a una<\/span> mujer<\/span> que<\/span> ha entrado<\/span> en el bar en el \u00faltimo<\/span> momento<\/span> para<\/span> comprar<\/span> tabaco<\/span> y pregunt\u00e1rselo<\/span> a ella<\/span>. As\u00ed<\/span> conoce<\/span> a Sylvie y surge, lo que<\/span> parece<\/span>, un flechazo<\/span> con cita<\/span> el viernes<\/span> siguiente<\/span> en una<\/span> de las<\/span> terrazas<\/span> de la Tuller\u00edas<\/span> (si<\/span>, efectivamente<\/span>, el recuerdo<\/span> al cl\u00e1sico<\/span> es<\/span> inevitable). Las heridas<\/span> del coraz\u00f3n<\/span> pasan<\/span> su<\/span> primer recibo<\/span> y Mark sufrir\u00e1<\/span> un infarto<\/span> que<\/span> le impide<\/span> acudir<\/span> a la cita<\/span>, y con ello<\/span>, la p\u00e9rdida<\/span> absoluta<\/span> de contacto<\/span> con la desconocida<\/span> de la que<\/span> no sabe<\/span> ni<\/span> el nombre<\/span>.<\/p>\n

El espectador<\/span> tiene<\/span> m\u00e1s<\/span> informaci\u00f3n<\/span> que<\/span> los protagonistas<\/span>, hemos<\/span> conocido<\/span> a la familia<\/span> de Sylvie, as\u00ed<\/span> que<\/span> cuando<\/span>, en otra<\/span> casualidad<\/span>, Mark conoce<\/span> e intima<\/span> con Sophie, hermana<\/span> de Sylvie, deducimos<\/span> por<\/span> d\u00f3nde<\/span> se desarrollar\u00e1<\/span> el relato<\/span>, una<\/span> pena<\/span>, porque<\/span> hubiera<\/span> sido<\/span> m\u00e1s<\/span> tortuoso<\/span> y m\u00e1s<\/span> intrigante<\/span> que<\/span> el espectador<\/span> hubiera<\/span> ido<\/span> aumentando<\/span> sospechas<\/span> al mismo<\/span> ritmo<\/span> que<\/span> Mark, y no siempre<\/span> por<\/span> delante<\/span>. Lo que<\/span> primero<\/span> podemos<\/span> pensar<\/span> que<\/span> es<\/span> verg\u00fcenza<\/span> o temor<\/span> a revelar<\/span> a la nueva<\/span> pareja<\/span> porqu\u00e9<\/span> conoce<\/span> a su<\/span> hermana<\/span>, se transforma<\/span> en castigo<\/span>, el castigo<\/span> que<\/span> atenaza<\/span> un coraz\u00f3n<\/span> herido<\/span> realmente<\/span> y que<\/span> comienza<\/span> a dudar<\/span> desde<\/span> que<\/span> comienza<\/span> a recoger<\/span> evidencias<\/span> de quien<\/span> es<\/span> esa<\/span> hermana<\/span> omnipresente<\/span> en el recuerdo<\/span>. Poco<\/span> a poco<\/span> las<\/span> sospechas<\/span> de Mark van revel\u00e1ndose<\/span>, del mismo<\/span> modo<\/span> que<\/span> la banda<\/span> sonora<\/span> de Bruno Coulais<\/span> reitera<\/span> el futuro<\/span> tr\u00e1gico<\/span> de la historia<\/span> a golpe<\/span> de violonchelos<\/span> y contrabajos<\/span>. La estabilidad<\/span> que<\/span> Mark buscaba<\/span> alcanzados<\/span> los 47 a\u00f1os<\/span> se transforma<\/span> en tormenta<\/span> interna<\/span> cuando<\/span> comprueba<\/span> que<\/span> la hermana<\/span> de Sophie no ha desaparecido<\/span> para<\/span> siempre<\/span> como<\/span> sospechaba<\/span>, sino<\/span> que<\/span> est\u00e1<\/span> m\u00e1s<\/span> cerca<\/span> de lo que<\/span> deber\u00eda<\/span>, separada<\/span> por<\/span> un oc\u00e9ano<\/span> real pero<\/span> siempre<\/span> presente<\/span> en conversaciones<\/span>, retratos<\/span>, comentarios<\/span>, y, fruto<\/span> de las<\/span> nuevas<\/span> tecnolog\u00edas<\/span>, accesible<\/span> a trav\u00e9s<\/span> de skype<\/span>. La llama de un encendedor<\/span> no sirve<\/span> para<\/span> iluminar<\/span>, sino<\/span> para<\/span> te\u00f1ir<\/span> de oscuridad<\/span> todo<\/span> lo que<\/span> deparar\u00e1<\/span> el futuro<\/span> de los protagonistas<\/span>, el primero<\/span> y durante<\/span> mucho<\/span> m\u00e1s<\/span> tiempo<\/span>, Mark.<\/p>\n

El coraz\u00f3n<\/span> de los tres<\/span> protagonistas<\/span>, Benoit Poelvoorde<\/span>, Chiara<\/span> Mastroianni<\/span> y Charlotte Gainsbourg<\/span>, comienza<\/span> a sufrir<\/span> las<\/span> consecuencias<\/span> del azar<\/span>. Es<\/span> en esta<\/span> segunda<\/span> parte<\/span> de la pel\u00edcula<\/span> donde<\/span> esa<\/span> exageraci\u00f3n<\/span> lastra<\/span> la pel\u00edcula<\/span>, donde<\/span> lo que<\/span> no dej\u00f3<\/span> de ser<\/span> una<\/span> noche<\/span> entre<\/span> dos desconocidos<\/span>, una<\/span> simple noche<\/span> marcada<\/span> por<\/span> la decepci\u00f3n<\/span> del viernes<\/span> siguiente<\/span>, pasa<\/span> a transformarse<\/span> en un terremoto<\/span> que<\/span> acaba<\/span> con la estabilidad<\/span> de sus<\/span> vidas<\/span>, estabilidad<\/span> forzada<\/span> para<\/span> sobrevivir<\/span> creando<\/span> atm\u00f3sferas<\/span> de apariencias<\/span>, burbujas<\/span> para<\/span> vivir<\/span> sin dolor, fortalezas<\/span> de amores<\/span> sobrevenidos<\/span> o sustitutos<\/span> que<\/span> pueden<\/span> marchitarse<\/span> o herirse<\/span> a velocidades<\/span> supers\u00f3nicas<\/span> con una<\/span> simple visi\u00f3n<\/span>, si<\/span> la historia<\/span> de Mark y Sylvie hubiera<\/span> sido<\/span> m\u00e1s<\/span> prolongada<\/span>, m\u00e1s<\/span> pasional<\/span>, quiz\u00e1s<\/span> se sentir\u00eda<\/span> uno<\/span> m\u00e1s<\/span> acompa\u00f1ado<\/span> en el proceso<\/span> de los personajes<\/span>. En el juego<\/span> de miradas<\/span> postreras<\/span> entre<\/span> Mark y Sylvie, Sophie permanece<\/span> en un mundo<\/span> aparte<\/span>, enga\u00f1ada<\/span> de si<\/span> misma<\/span>, ausente<\/span> de inter\u00e9s<\/span> por<\/span> querer<\/span> saber el porqu\u00e9<\/span> del cambio<\/span> en Mark, \u00faltima<\/span> en enterarse<\/span> de nada cuando<\/span> ya<\/span> todo<\/span> es<\/span> conocido<\/span>. El d\u00eda<\/span> de su<\/span> boda<\/span>, Mark mira<\/span> a las<\/span> puertas<\/span>, temiendo<\/span> la aparici\u00f3n<\/span> de la cu\u00f1ada<\/span> y, al tiempo<\/span>, ansiando<\/span> atravesar<\/span> esas<\/span> puertas<\/span> y desaparecer<\/span> una<\/span> vez<\/span> que<\/span> se ha dado cuenta<\/span> de que<\/span> todo<\/span> es<\/span> apariencia<\/span>.<\/p>\n

El t\u00edtulo<\/span> de 3 Coeurs<\/span> se queda<\/span> corto<\/span>, tres<\/span> corazones<\/span> son los protagonistas<\/span>, pero<\/span> en el camino<\/span> quedan<\/span> lesionados<\/span> otra<\/span> media docena<\/span>. Al excelso<\/span> reparto<\/span> femenino<\/span>, completado<\/span> por<\/span> Catherine Deneuve<\/span> en el papel<\/span> de madre<\/span> de las<\/span> hermanas<\/span>, todas<\/span> ellas<\/span> heridas<\/span> por<\/span> un padre ausente<\/span> que<\/span> vol\u00f3<\/span>, le hubiera<\/span> venido<\/span> mucho<\/span> mejor<\/span> un compa\u00f1ero<\/span> masculino<\/span> de reparto<\/span> con m\u00e1s<\/span> empaque<\/span>, m\u00e1s<\/span> tenebroso<\/span> y seductor<\/span> al mismo<\/span> tiempo<\/span>, me imagino<\/span> a Vincent Lindon<\/span> recreando<\/span> a este<\/span> timador<\/span> de sentimientos<\/span>, propios<\/span> y ajenos<\/span>. Tambi\u00e9n<\/span> le hubiera<\/span> venido<\/span> bien<\/span> un pulido<\/span> a la historia<\/span> para<\/span> evitar<\/span> alg\u00fan<\/span> que<\/span> otro<\/span> sonrojo<\/span>, alguna<\/span> que<\/span> otra<\/span> previsible<\/span> deriva<\/span> del relato<\/span>, eliminar<\/span> a ese<\/span> narrador<\/span> intermitente<\/span> que<\/span> nos indica<\/span> que<\/span> el tiempo<\/span> ha pasado<\/span> o evitar<\/span> la repetici\u00f3n<\/span> sistem\u00e1tica<\/span> de esos<\/span> acordes<\/span> que<\/span> anuncian<\/span> tempestad<\/span> incluso<\/span> cuando<\/span> todo<\/span> aparenta<\/span> calma<\/span> y bonanza. Qued\u00e9monos<\/span> con lo bueno<\/span>, la presencia<\/span> esencial<\/span> de dos mujeres por<\/span> las<\/span> que<\/span> pasa<\/span> el tiempo<\/span> y permanecen<\/span> inalterables<\/span> en su<\/span> complejidad<\/span> creando<\/span> personajes<\/span>, la Mastroianni<\/span> y la Gainsbourg<\/span>, dos valores<\/span> absolutos<\/span> de la cinematograf\u00eda<\/span> francesa<\/span>, que<\/span> es<\/span> tanto<\/span> como<\/span> decir<\/span> una<\/span> de las<\/span> pocas<\/span> industrias<\/span> culturales<\/span> del planeta<\/span>.<\/p>\n

\"alt\"<\/p>","protected":false},"excerpt":{"rendered":"

La vida puede ser muy exagerada pero al llevarla al cine hay que tener cuidado, porque un exceso de exageraci\u00f3n puede truncar el resultado de la obra. A Mark le gusta forzar la casualidad, le gustan las mujeres y le gusta el juego de la seducci\u00f3n. No obstante, su vida […]<\/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-8148","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\n3 Coeurs (Tres corazones, Benoit Jacquot, 2014) - 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\/3-coeurs-tres-corazones-benoit-jacquot-2014\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"3 Coeurs (Tres corazones, Benoit Jacquot, 2014) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"La vida puede ser muy exagerada pero al llevarla al cine hay que tener cuidado, porque un exceso de exageraci\u00f3n puede truncar el resultado de la obra. A Mark le gusta forzar la casualidad, le gustan las mujeres y le gusta el juego de la seducci\u00f3n. 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