{"id":8181,"date":"2015-11-04T08:49:37","date_gmt":"2015-11-04T08:49:37","guid":{"rendered":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/"},"modified":"2021-04-12T21:03:02","modified_gmt":"2021-04-12T19:03:02","slug":"dheepan-jacques-audiard-2015","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/dheepan-jacques-audiard-2015\/","title":{"rendered":"Dheepan (Jacques Audiard, 2015)"},"content":{"rendered":"

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

Un jurado<\/span> no deja<\/span> de ser<\/span> un conjunto<\/span> de personas aficionadas<\/span> al cine, o que<\/span> viven<\/span> del cine, que<\/span> manifiestan<\/span> sus<\/span> preferencias<\/span> como<\/span> podemos<\/span> hacer<\/span> todos<\/span> los dem\u00e1s<\/span> en conversaciones<\/span> de caf\u00e9<\/span>, aunque<\/span> sus<\/span> decisiones<\/span> son m\u00e1s<\/span> trascendentes<\/span> para<\/span> el prestigio<\/span> de una<\/span> pel\u00edcula<\/span>, pero<\/span> tambi\u00e9n<\/span> para<\/span> el del propio<\/span> festival que<\/span> premia<\/span>. Sin haber<\/span> visto<\/span> el festival de Cannes de este<\/span> a\u00f1o<\/span> (ni<\/span> de ninguno<\/span>) hay que<\/span> hacer<\/span> profesi\u00f3n<\/span> de fe<\/span> para<\/span> pensar<\/span> que<\/span> \u00e9sta<\/span> fue<\/span> la mejor<\/span> pel\u00edcula<\/span> a concurso<\/span>, de todas<\/span> formas<\/span> ya<\/span> he visto<\/span> varias<\/span> de las<\/span> pel\u00edculas<\/span> a concurso<\/span> que<\/span>, para<\/span> mi gusto, superan<\/span> a la ganadora<\/span>, y faltan<\/span> tres<\/span> por<\/span> llegar<\/span> con las<\/span> que<\/span> la cr\u00edtica<\/span> se deshace<\/span> en elogios<\/span>, Carol, Son of Saul y Mountains may depart. Me comentan<\/span> los que<\/span> si<\/span> estuvieron<\/span> que<\/span> hab\u00eda<\/span> pel\u00edculas<\/span> mucho<\/span> m\u00e1s<\/span> interesantes<\/span>, mucho<\/span> m\u00e1s<\/span> redondas<\/span>, mucho<\/span> m\u00e1s<\/span> contundentes<\/span>. Audiard<\/span> parece<\/span> dispuesto<\/span> a llegar<\/span> a un final y para<\/span> eso<\/span> tienen<\/span> que<\/span> ocurrir<\/span> cosas<\/span> intermedias<\/span> que<\/span> justifiquen<\/span> una<\/span> progresi\u00f3n<\/span> hacia<\/span> el desenlace<\/span>, con independencia<\/span> de que<\/span> aquello<\/span> cuadre<\/span>, de que<\/span> el relato<\/span> resulte<\/span> convincente<\/span>, de que<\/span> lo que<\/span> vemos<\/span> sea lo razonable<\/span>.<\/p>\n

La indefinici\u00f3n<\/span> moral de una<\/span> obra<\/span> de arte<\/span> resulta<\/span> peligrosa<\/span>, puede<\/span> plantearse<\/span> un escenario<\/span> y observar<\/span> a los personajes<\/span> para<\/span> que<\/span> el espectador<\/span> saque<\/span> su<\/span> conclusi\u00f3n<\/span>, o puede<\/span> presentarse<\/span> una<\/span> historia<\/span> de buenos<\/span>, malos<\/span>, lugares<\/span> peligrosos<\/span> y pa\u00edses<\/span> id\u00edlicos<\/span>, o no pretenderlo<\/span> y conseguir<\/span> dar<\/span> esa<\/span> impresi\u00f3n<\/span>, lo que<\/span> es<\/span> mucho<\/span> peor<\/span> para<\/span> el valor de la pel\u00edcula<\/span>. \u201cDheepan\u201d<\/span> tiene<\/span> notables aciertos<\/span>, pero<\/span> groseras<\/span> muletas<\/span> en las<\/span> que<\/span> se apoya<\/span> para<\/span> justificar<\/span> el gui\u00f3n<\/span>. Dheepan<\/span> es<\/span> un tigre<\/span> tamil<\/span>, uno<\/span> de los integrantes<\/span> de la guerrilla que<\/span> durante<\/span> d\u00e9cadas<\/span> batall\u00f3<\/span> contra el gobierno<\/span> de Sri Lanka, un combatiente<\/span> cansado<\/span>, que<\/span> ha perdido<\/span> amigos y familia<\/span> en la lucha<\/span> y quiere<\/span> escapar<\/span> para<\/span> empezar<\/span> lejos<\/span> y de nuevo<\/span>, huir<\/span> de la violencia<\/span> sobre<\/span> todo<\/span>.<\/p>\n

En ese camino necesita aparentar que<\/span> tiene<\/span> una<\/span> familia<\/span>, y en la playa donde se decide qui\u00e9n se va y hacia<\/span> d\u00f3nde, destino primero a la India y despu\u00e9s ya<\/span> se ver\u00e1, Dheepan<\/span> es<\/span> asignado a una<\/span> mujer y a una<\/span> ni\u00f1a, ninguno<\/span> de los tres<\/span> se conocen, y a partir de entonces pasan a ser<\/span> una<\/span> familia<\/span> real que<\/span> ha sido masacrada en la guerra y a la que<\/span> suplantan, pero<\/span> a la que<\/span> nadie va a echar en falta. La elipsis entre la playa de Sri Lanka y la llegada a Par\u00eds es<\/span> absoluta, a Audiard<\/span> no le interesa explicar el c\u00f3mo, porque en ese camino ser\u00edan necesarias muchas explicaciones que<\/span>, a lo mejor<\/span>, al espectador<\/span> no hay que<\/span> dar<\/span> para<\/span> que<\/span> no se plantee respuestas de dif\u00edcil soluci\u00f3n en la historia<\/span> que<\/span> se nos ofrece. Aqu\u00ed pierde su<\/span> primera credibilidad la pel\u00edcula<\/span>, un perseguido por<\/span> el gobierno<\/span> es<\/span> capaz de llegar<\/span> a Par\u00eds sin que<\/span> ninguna mafia exija dinero o contraprestaci\u00f3n a su<\/span> llegada. Las desgracias de Dheepan<\/span> las<\/span> originan los hombres como<\/span> \u00e9l, no las<\/span> organizaciones que<\/span> se aprovechan de su<\/span> situaci\u00f3n. Los servicios sociales franceses, enga\u00f1ados por<\/span> los int\u00e9rpretes, aceptan familias en la creencia de que<\/span> son refugiados de guerra, perseguidos, represaliados pol\u00edticos. A Dheepan<\/span> se le asigna una<\/span> vivienda y un trabajo, en la periferia de Par\u00eds, ciudad que<\/span> pr\u00e1cticamente no veremos. Dheepan<\/span> pasa a ser<\/span> el portero de unos bloques de viviendas, bloques donde impera la ley del clan mafioso. La mitad de los bloques son para<\/span> las<\/span> personas, la mitad opuesta donde la banda de Brahim trafica con drogas y donde Dheepan<\/span> no puede<\/span> entrar si<\/span> no se le autoriza previamente. Hemos sentado el caldo de cultivo para<\/span> que<\/span> empiece a resurgir \u201cS\u00f3lo ante el peligro\u201d.<\/p>\n

En su<\/span> intento<\/span> de integraci\u00f3n<\/span> al nuevo<\/span> pa\u00eds<\/span> hay escenas<\/span> especialmente<\/span> logradas<\/span>, casi<\/span> todas<\/span> aqu\u00e9llas<\/span> en las<\/span> que<\/span> Audiard<\/span> busca<\/span> lo on\u00edrico<\/span>, lo surreal. Unos<\/span> refugiados que<\/span> huyen<\/span> y suben<\/span> a un barco<\/span> en la noche<\/span>, y de pronto, en la oscuridad<\/span>, unas<\/span> luces<\/span> de colores<\/span> empiezan<\/span> a hacerse<\/span> poco<\/span> a poco<\/span> m\u00e1s<\/span> visibles<\/span>, m\u00e1s<\/span> cercanas<\/span>, pensando<\/span> que<\/span> son los barcos<\/span> que<\/span> llegan<\/span> a puerto<\/span> nos encontramos<\/span> con unos srilankeses<\/span> vendiendo<\/span> juguetes<\/span> por<\/span> las<\/span> calles<\/span> de Par\u00eds y luciendo<\/span> unas<\/span> diademas<\/span> que<\/span> se encienden<\/span> y apagan<\/span> con luces<\/span> de colores<\/span>, o los sue\u00f1os<\/span>, pesadillas<\/span> y borracheras<\/span> de Dheepan<\/span> donde ve<\/span> a un elefante<\/span> que<\/span> le observa<\/span> con su<\/span> ojo<\/span> enorme<\/span>, la tranquilidad<\/span> del ser<\/span> bestial que<\/span> puede<\/span> despertar<\/span> en cualquier<\/span> momento<\/span>.<\/p>\n

Audiard<\/span> saca a sus<\/span> personajes<\/span> de un mundo en guerra para<\/span> colocarles en un mundo sin ley y dispuesto<\/span> a estallar en cualquier<\/span> momento<\/span>. Los fuegos artificiales con los que<\/span> Brahim es<\/span> recibido en el barrio tras su<\/span> salida de la c\u00e1rcel revelan qui\u00e9n es<\/span> el amo en ese momento<\/span>, qui\u00e9n decide lo que<\/span> se hace y porqu\u00e9, una<\/span> festividad de la violencia<\/span> que<\/span> a Dheepan<\/span> le recuerda los tiroteos de su<\/span> pa\u00eds<\/span>, las<\/span> hogueras donde se incineraban los cad\u00e1veres de los compa\u00f1eros. No obstante, Audiard<\/span> utiliza excusas cuando quiere<\/span> y se olvida de ellas a continuaci\u00f3n, cuando conviene colocamos a los servicios sociales, a la laica escuela p\u00fablica francesa nos la ofrece y sit\u00faa en el centro de la escena, pendiente de la integraci\u00f3n<\/span>, pero<\/span>, a continuaci\u00f3n, nos olvidamos de ella, se entregan viviendas, se proporcionan colegio y trabajo y, a partir de entonces nadie supervisa un lugar en donde la inmigraci\u00f3n es<\/span> mayor\u00eda, una<\/span> barriada sin polic\u00eda ni<\/span> administraci\u00f3n, un mundo aparte al que<\/span> Dheepan<\/span> pod\u00eda haber<\/span> llegado sin necesidad de recurrir a la v\u00eda legal. Los bailes de Dheepan<\/span> en su<\/span> s\u00f3tano van anunciando su<\/span> reacci\u00f3n, como<\/span> los bailes guerreros de los indios de nuestra infancia, pero<\/span>, \u00bfnecesitaba Dheepan<\/span> volver a luchar? \u00bfno le bastaba con cambiar de lugar de residencia o de pa\u00eds<\/span>? \u00bfQu\u00e9 obliga a Dheepan<\/span> a revelarse como<\/span> un ser<\/span> justiciero si<\/span> todo<\/span> pod\u00eda ser<\/span> m\u00e1s<\/span> sencillo? No habr\u00eda pel\u00edcula<\/span> entonces.<\/p>\n

En la escalada<\/span> de concesiones<\/span> para<\/span> que<\/span> pase<\/span> lo que<\/span> tiene<\/span> que<\/span> pasar<\/span>, Dheepan<\/span> intentar\u00e1<\/span> marcar<\/span> su<\/span> territorio<\/span>, desobedecer<\/span> el mando<\/span> del clan, intentar<\/span> integrarse<\/span> en la comunidad<\/span> de vecinos<\/span>, pero<\/span> para<\/span> complicar<\/span> todo<\/span> habr\u00e1<\/span> que<\/span> colocar<\/span> a la mujer<\/span> que<\/span> huy\u00f3<\/span> con \u00e9l<\/span> y que<\/span> se hace<\/span> pasar<\/span> por<\/span> su<\/span> esposa<\/span>, trabajando<\/span> en la vivienda<\/span> donde<\/span> vive el t\u00edo<\/span> de Brahim<\/span> y \u00e9ste<\/span> mismo<\/span> cuando<\/span> deja<\/span> la c\u00e1rcel<\/span>. As\u00ed<\/span>, la espiral<\/span> de posible<\/span> violencia<\/span> va<\/span> atrapando<\/span> a la pareja<\/span> de manera<\/span> visible pero<\/span> no directa<\/span>. Dheepan<\/span> en su<\/span> s\u00f3tano<\/span> mantiene<\/span> un v\u00ednculo<\/span> espiritual<\/span> de contacto<\/span> con su<\/span> pa\u00eds<\/span>, con su<\/span> tradici\u00f3n<\/span>, con sus<\/span> or\u00edgenes<\/span>. Poco<\/span> a poco<\/span> el tigre<\/span> encerrado<\/span> en su<\/span> jaula<\/span> empieza<\/span> a enloquecer<\/span>, empieza<\/span> a comprender<\/span> que<\/span> esa<\/span> nueva<\/span> selva<\/span> le va<\/span> a provocar<\/span> la misma<\/span> angustia<\/span> que<\/span> la que<\/span> le impeli\u00f3<\/span> a abandonar<\/span> Sri Lanka. El final, ese<\/span> doble<\/span> final, uno<\/span> apocal\u00edptico<\/span> y otro<\/span> redentor<\/span>, me produce n\u00e1useas<\/span> intelectuales<\/span>. El doble<\/span> final es<\/span> lo que<\/span> Audiard<\/span> buscaba<\/span> desde<\/span> el principio<\/span>, era su<\/span> ruta<\/span> programada<\/span> para<\/span> la que<\/span> ha estado<\/span> prolongando<\/span> en exceso<\/span> el relato<\/span> y que<\/span>, en definitiva<\/span>, llena<\/span> de impostura<\/span> su<\/span> propuesta<\/span>, el final violento<\/span> y el final familiar son un bofet\u00f3n<\/span> que<\/span> cae<\/span> directamente<\/span> sobre<\/span> Francia<\/span>. \u00bfEra esto<\/span> lo que<\/span> pretend\u00eda<\/span> o s\u00f3lo<\/span> le ha salido<\/span> as\u00ed<\/span>? \u00bfRealmente<\/span> Audiard<\/span> cree<\/span> que<\/span> el Reino<\/span> Unido<\/span> es<\/span> m\u00e1s<\/span> tolerante<\/span>, m\u00e1s<\/span> integrador<\/span>, m\u00e1s<\/span> \u201ccivilizado\u201d<\/span>?. Audiard<\/span> estrope\u00f3<\/span> su<\/span> estupenda<\/span> \u201cDe \u00f3xido<\/span> y huesos\u201d<\/span> con un final complaciente<\/span> y buenista<\/span>, ahora<\/span> convierte<\/span> una<\/span> propuesta<\/span> de menor<\/span> entidad<\/span> y calidad<\/span> en un producto<\/span> menor<\/span> con la complicidad<\/span> del desarrollo<\/span> de la historia<\/span> y su<\/span> mal calculado<\/span> final.<\/p>\n

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

Un jurado no deja de ser un conjunto de personas aficionadas al cine, o que viven del cine, que manifiestan sus preferencias como podemos hacer todos los dem\u00e1s en conversaciones de caf\u00e9, aunque sus decisiones son m\u00e1s trascendentes para el prestigio de una pel\u00edcula, pero tambi\u00e9n para el del propio […]<\/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-8181","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\nDheepan (Jacques Audiard, 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\/dheepan-jacques-audiard-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dheepan (Jacques Audiard, 2015) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Un jurado no deja de ser un conjunto de personas aficionadas al cine, o que viven del cine, que manifiestan sus preferencias como podemos hacer todos los dem\u00e1s en conversaciones de caf\u00e9, aunque sus decisiones son m\u00e1s trascendentes para el prestigio de una pel\u00edcula, pero tambi\u00e9n para el del propio […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revistarambla.com\/en\/dheepan-jacques-audiard-2015\/\" \/>\n<meta property=\"og:site_name\" content=\"Revista Rambla\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/revistarambla\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/revistarambla\" \/>\n<meta property=\"article:published_time\" content=\"2015-11-04T08:49:37+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-04-12T19:03:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i1.wp.com\/www.revistarambla.com\/wp-content\/uploads\/2015\/11\/Dheepan_revRambla01.jpg?fit=682%2C430&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"682\" \/>\n\t<meta property=\"og:image:height\" content=\"430\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"R@mbla\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:site\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"R@mbla\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/\"},\"author\":{\"name\":\"R@mbla\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/person\\\/a146a5a2550b94981a75131180e1bd9c\"},\"headline\":\"Dheepan (Jacques Audiard, 2015)\",\"datePublished\":\"2015-11-04T08:49:37+00:00\",\"dateModified\":\"2021-04-12T19:03:02+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/\"},\"wordCount\":1320,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Dheepan_revRambla02.jpg\",\"articleSection\":[\"Cine & Series\",\"Cultura\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/\",\"name\":\"Dheepan (Jacques Audiard, 2015) - Revista Rambla\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Dheepan_revRambla02.jpg\",\"datePublished\":\"2015-11-04T08:49:37+00:00\",\"dateModified\":\"2021-04-12T19:03:02+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Dheepan_revRambla02.jpg\",\"contentUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Dheepan_revRambla02.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/dheepan-jacques-audiard-2015\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\\\/\\\/www.revistarambla.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dheepan (Jacques Audiard, 2015)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#website\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/\",\"name\":\"Revista Rambla Barcelona\",\"description\":\"Periodismo independiente\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.revistarambla.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#organization\",\"name\":\"Revista Rambla\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2020\\\/09\\\/banner_rambla_1900x600_BB.png\",\"contentUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2020\\\/09\\\/banner_rambla_1900x600_BB.png\",\"width\":1900,\"height\":600,\"caption\":\"Revista Rambla\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/revistarambla\\\/\",\"https:\\\/\\\/x.com\\\/revistarambla\",\"https:\\\/\\\/www.instagram.com\\\/revista_rambla\",\"https:\\\/\\\/es.linkedin.com\\\/company\\\/revista-rambla\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/person\\\/a146a5a2550b94981a75131180e1bd9c\",\"name\":\"R@mbla\",\"description\":\"Este art\u00edculo ha sido redactado y\\\/o validado por el equipo de redacci\u00f3n de Revista Rambla.\",\"sameAs\":[\"https:\\\/\\\/www.revistarambla.com\\\/\",\"https:\\\/\\\/www.facebook.com\\\/revistarambla\",\"https:\\\/\\\/x.com\\\/revistarambla\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dheepan (Jacques Audiard, 2015) - Revista Rambla","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.revistarambla.com\/en\/dheepan-jacques-audiard-2015\/","og_locale":"en_GB","og_type":"article","og_title":"Dheepan (Jacques Audiard, 2015) - Revista Rambla","og_description":"Un jurado no deja de ser un conjunto de personas aficionadas al cine, o que viven del cine, que manifiestan sus preferencias como podemos hacer todos los dem\u00e1s en conversaciones de caf\u00e9, aunque sus decisiones son m\u00e1s trascendentes para el prestigio de una pel\u00edcula, pero tambi\u00e9n para el del propio […]","og_url":"https:\/\/www.revistarambla.com\/en\/dheepan-jacques-audiard-2015\/","og_site_name":"Revista Rambla","article_publisher":"https:\/\/www.facebook.com\/revistarambla\/","article_author":"https:\/\/www.facebook.com\/revistarambla","article_published_time":"2015-11-04T08:49:37+00:00","article_modified_time":"2021-04-12T19:03:02+00:00","og_image":[{"width":682,"height":430,"url":"https:\/\/i1.wp.com\/www.revistarambla.com\/wp-content\/uploads\/2015\/11\/Dheepan_revRambla01.jpg?fit=682%2C430&ssl=1","type":"image\/jpeg"}],"author":"R@mbla","twitter_card":"summary_large_image","twitter_creator":"@revistarambla","twitter_site":"@revistarambla","twitter_misc":{"Written by":"R@mbla","Estimated reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#article","isPartOf":{"@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/"},"author":{"name":"R@mbla","@id":"https:\/\/www.revistarambla.com\/#\/schema\/person\/a146a5a2550b94981a75131180e1bd9c"},"headline":"Dheepan (Jacques Audiard, 2015)","datePublished":"2015-11-04T08:49:37+00:00","dateModified":"2021-04-12T19:03:02+00:00","mainEntityOfPage":{"@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/"},"wordCount":1320,"commentCount":0,"publisher":{"@id":"https:\/\/www.revistarambla.com\/#organization"},"image":{"@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#primaryimage"},"thumbnailUrl":"https:\/\/www.revistarambla.com\/wp-content\/uploads\/2015\/11\/Dheepan_revRambla02.jpg","articleSection":["Cine & Series","Cultura"],"inLanguage":"en-GB","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/","url":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/","name":"Dheepan (Jacques Audiard, 2015) - Revista Rambla","isPartOf":{"@id":"https:\/\/www.revistarambla.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#primaryimage"},"image":{"@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#primaryimage"},"thumbnailUrl":"https:\/\/www.revistarambla.com\/wp-content\/uploads\/2015\/11\/Dheepan_revRambla02.jpg","datePublished":"2015-11-04T08:49:37+00:00","dateModified":"2021-04-12T19:03:02+00:00","breadcrumb":{"@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#primaryimage","url":"https:\/\/www.revistarambla.com\/wp-content\/uploads\/2015\/11\/Dheepan_revRambla02.jpg","contentUrl":"https:\/\/www.revistarambla.com\/wp-content\/uploads\/2015\/11\/Dheepan_revRambla02.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.revistarambla.com\/dheepan-jacques-audiard-2015\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/www.revistarambla.com\/"},{"@type":"ListItem","position":2,"name":"Dheepan (Jacques Audiard, 2015)"}]},{"@type":"WebSite","@id":"https:\/\/www.revistarambla.com\/#website","url":"https:\/\/www.revistarambla.com\/","name":"Revista Rambla Barcelona","description":"Periodismo independiente","publisher":{"@id":"https:\/\/www.revistarambla.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.revistarambla.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/www.revistarambla.com\/#organization","name":"Revista Rambla","url":"https:\/\/www.revistarambla.com\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/www.revistarambla.com\/#\/schema\/logo\/image\/","url":"https:\/\/www.revistarambla.com\/wp-content\/uploads\/2020\/09\/banner_rambla_1900x600_BB.png","contentUrl":"https:\/\/www.revistarambla.com\/wp-content\/uploads\/2020\/09\/banner_rambla_1900x600_BB.png","width":1900,"height":600,"caption":"Revista Rambla"},"image":{"@id":"https:\/\/www.revistarambla.com\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/revistarambla\/","https:\/\/x.com\/revistarambla","https:\/\/www.instagram.com\/revista_rambla","https:\/\/es.linkedin.com\/company\/revista-rambla"]},{"@type":"Person","@id":"https:\/\/www.revistarambla.com\/#\/schema\/person\/a146a5a2550b94981a75131180e1bd9c","name":"R@mbla","description":"Este art\u00edculo ha sido redactado y\/o validado por el equipo de redacci\u00f3n de Revista Rambla.","sameAs":["https:\/\/www.revistarambla.com\/","https:\/\/www.facebook.com\/revistarambla","https:\/\/x.com\/revistarambla"]}]}},"_links":{"self":[{"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/posts\/8181","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/comments?post=8181"}],"version-history":[{"count":0,"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/posts\/8181\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/media?parent=8181"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/categories?post=8181"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revistarambla.com\/en\/wp-json\/wp\/v2\/tags?post=8181"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}