{"id":8195,"date":"2015-11-05T22:28:45","date_gmt":"2015-11-05T22:28:45","guid":{"rendered":"https:\/\/www.revistarambla.com\/an-una-pasteleria-en-tokyo-naomi-kawase-2015\/"},"modified":"2021-04-12T21:11:14","modified_gmt":"2021-04-12T19:11:14","slug":"an-una-pasteleria-en-tokyo-naomi-kawase-2015","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/an-una-pasteleria-en-tokyo-naomi-kawase-2015\/","title":{"rendered":"‘Una pasteler\u00eda en Tokyo’ (Naom\u00ed Kawase, 2015)"},"content":{"rendered":"

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

Kawase<\/span> retoma<\/span> los temas<\/span> que<\/span> identifican<\/span> su<\/span> cine como<\/span> algo<\/span> muy<\/span> personal, y esta<\/span> vez<\/span> los asume<\/span> desde<\/span> un punto<\/span> de vista m\u00e1s<\/span> amable<\/span>, menos<\/span> herm\u00e9tico<\/span>, mucho<\/span> m\u00e1s<\/span> comprensible<\/span> para<\/span> el p\u00fablico<\/span>. El resultado<\/span> final no se encuentra<\/span>, para<\/span> mi gusto, al nivel<\/span> de las<\/span> excelentes<\/span> \u201cEl bosque<\/span> del luto\u201d<\/span> y \u201cStill the water\u201d, pero<\/span> el conjunto<\/span> es<\/span> tan notable que<\/span>, puesto<\/span> en comparaci\u00f3n<\/span> con much\u00edsimo<\/span> otro<\/span> cine, alcanza<\/span> las<\/span> cotas<\/span> de maestr\u00eda<\/span> en muchos<\/span> de sus<\/span> momentos<\/span> colocando<\/span> los sentimientos<\/span> a flor<\/span> de piel<\/span>. Kawase<\/span> se centra<\/span> en tres<\/span> personajes<\/span> que<\/span> podr\u00edan<\/span> haber<\/span> salido<\/span> de las<\/span> novelas<\/span> de otro<\/span> japon\u00e9s<\/span> que<\/span> me gusta<\/span>, aunque<\/span> creo<\/span> que<\/span> est\u00e1<\/span> perdiendo<\/span> fuelle<\/span> literario<\/span>, como<\/span> es<\/span> Murakami<\/span>. Las tres<\/span> edades<\/span> tan bien<\/span> representadas<\/span> en \u201cStill the water\u201d vuelven<\/span> a representarse<\/span> en una<\/span> dura<\/span> prueba<\/span> de renuncia<\/span> a vivir<\/span>, por<\/span> un lado<\/span>, y de optimismo<\/span> frente<\/span> a la adversidad<\/span>, por<\/span> otro<\/span>.<\/p>\n

La pel\u00edcula<\/span> indaga<\/span> en la vida<\/span> de un pastelero<\/span> dedicado<\/span> exclusivamente<\/span> a hacer<\/span> dorayakis<\/span>, un postre<\/span> japon\u00e9s<\/span> relleno<\/span> de \u201canko\u201d<\/span>, el an del t\u00edtulo<\/span>, una<\/span> pasta dulce<\/span> hecha<\/span> a partir<\/span> de jud\u00eda<\/span> roja<\/span>, un pastelero<\/span> de escaso<\/span> \u00e9xito<\/span> y encadenado<\/span> a un negocio<\/span> que<\/span> no le gusta<\/span> y que<\/span> no es<\/span> suyo<\/span> como<\/span> consecuencia<\/span> de una<\/span> deuda<\/span> del pasado<\/span>, y tambi\u00e9n<\/span> por<\/span> no atreverse<\/span> a decir<\/span> no en alguna<\/span> ocasi\u00f3n<\/span>. A la vida<\/span> de Sentaro<\/span> llega<\/span> una<\/span> anciana<\/span> con las<\/span> manos<\/span> deformes<\/span>, que<\/span> sobrepasa<\/span> los 70 a\u00f1os<\/span> de edad<\/span> y que<\/span> se ofrece<\/span> como<\/span> trabajadora<\/span> ayudante<\/span> de cocina<\/span>, a cualquier<\/span> precio<\/span>, para<\/span> ayudar<\/span> a Sentaro<\/span> y hacer<\/span> un \u201canko\u201d<\/span> de calidad<\/span>, alejado<\/span> de la pasta industrial que<\/span> utiliza<\/span>. La llegada<\/span> de Tokue<\/span> no es<\/span> tomada<\/span> en serio<\/span> por<\/span> Sentaro<\/span>, quien<\/span> cree<\/span> imposible<\/span> que<\/span> una<\/span> anciana<\/span> de esa<\/span> edad<\/span> pueda<\/span> hacer<\/span> frente<\/span> a jornadas<\/span> de trabajo<\/span> tan largas<\/span> y de tanto<\/span> esfuerzo<\/span> hasta<\/span> que<\/span> prueba<\/span> el trabajo<\/span> de la mujer<\/span>. Una<\/span> adolescente<\/span> melanc\u00f3lica<\/span>, solitaria<\/span> y decepcionada<\/span> con su<\/span> madre<\/span> cierra<\/span> el tr\u00edo<\/span> como<\/span> cliente<\/span> habitual de la tienda<\/span>, un lugar<\/span> en el que<\/span> refugiarse<\/span> para<\/span> no estar<\/span> en su<\/span> casa, un lugar<\/span> en el que<\/span>, finalmente<\/span>, Tokue<\/span> trabajar\u00e1<\/span> para<\/span> Sentaro<\/span> y los tres<\/span> ir\u00e1n<\/span> forjando<\/span> una<\/span> relaci\u00f3n<\/span> basada<\/span> m\u00e1s<\/span> en las<\/span> reflexiones<\/span> y confidencias<\/span> de la anciana<\/span> que<\/span> en la conversaci\u00f3n<\/span> entre<\/span> los tres<\/span>.<\/p>\n

El pasado<\/span> y presente<\/span> de Tokue<\/span> guarda<\/span> un hecho<\/span> que<\/span> no conviene<\/span> publicar<\/span>, en Jap\u00f3n<\/span>, como<\/span> en Espa\u00f1a<\/span>, la superstici\u00f3n<\/span> y las<\/span> ganas<\/span> de hacer<\/span> da\u00f1o<\/span> forman<\/span> parte<\/span> de nuestra<\/span> forma de ser<\/span>, un comentario<\/span> ingenuo<\/span> de la joven<\/span> a su<\/span> madre<\/span> provoca<\/span> que<\/span> el \u00e9xito<\/span> de los dorayakis<\/span> una<\/span> vez<\/span> que<\/span> Tokue<\/span> haga<\/span> la pasta, se transforme<\/span> en abandono<\/span> y huida<\/span> de la clientela<\/span> cuando<\/span> conozcan<\/span> lo que<\/span> Tokue<\/span> esconde<\/span>. Cuando<\/span> la anciana<\/span> opta<\/span> por<\/span> abandonar<\/span> el trabajo<\/span> y refugiarse<\/span> en su<\/span> residencia<\/span>, tanto<\/span> en la joven<\/span> como<\/span> en Sentaro<\/span> pesar\u00e1<\/span> el vac\u00edo<\/span> y la ausencia<\/span>, el dolor de la injusticia<\/span>, se reavivar\u00e1<\/span> el trauma personal de cada<\/span> uno<\/span> y las<\/span> noches<\/span> volver\u00e1n<\/span> a ser<\/span> largas<\/span> y solitarias<\/span>. La ausencia<\/span> de Tokue<\/span> se acompa\u00f1ar\u00e1<\/span> con la imposibilidad<\/span> de encontrarla<\/span>. Es<\/span> a partir<\/span> de entonces<\/span> cuando<\/span> la pel\u00edcula<\/span> de Kawase<\/span> se transforma<\/span> en el verdadero<\/span> cine de Kawase<\/span>, la contemplaci\u00f3n<\/span>, el lento discurrir<\/span> de la vida<\/span>, la naturaleza<\/span>, los \u00e1rboles<\/span>, los arroyos, las<\/span> flores<\/span>, siempre<\/span> presentes<\/span> en la pel\u00edcula<\/span>, se hacen<\/span> m\u00e1s<\/span> y m\u00e1s<\/span> constantes<\/span>, m\u00e1s<\/span> y m\u00e1s<\/span> significativos<\/span> de c\u00f3mo<\/span> nuestra<\/span> vida<\/span> puede<\/span> armonizar<\/span> con el espacio<\/span> natural de manera<\/span> fluida<\/span>.<\/p>\n

Kawase<\/span> hurga<\/span> en cierto<\/span> pasado<\/span> japon\u00e9s<\/span> y en la forma de tratar<\/span> una<\/span> enfermedad<\/span> que<\/span> pr\u00e1cticamente<\/span> ha sido<\/span> erradicada<\/span> en los pa\u00edses<\/span> occidentales<\/span>, si<\/span> a Tokue<\/span> la enfermedad<\/span> le ha dejado<\/span> marcas<\/span> externas<\/span> visibles<\/span>, a Sentaro<\/span> su<\/span> enfermedad<\/span> personal le ha herido<\/span> profundamente<\/span> en su<\/span> interior. Es<\/span> m\u00e1s<\/span> dolorosa<\/span> \u00e9sta<\/span> porque<\/span> no se ha querido<\/span> asumir<\/span>, se ha dado por<\/span> definitiva<\/span> la derrota<\/span> antes de tiempo<\/span>, y la presencia<\/span> de Tokue<\/span> demuestra<\/span> todo<\/span> lo contrario<\/span> a las<\/span> dos generaciones<\/span> siguientes<\/span>, que<\/span> hay que<\/span> querer<\/span> una<\/span> cosa<\/span> y atreverse<\/span> a hacerla<\/span>, o al menos<\/span> intentarlo<\/span>. Algunas<\/span> estar\u00e1n<\/span> prohibidas<\/span> y otras<\/span> ser\u00e1n<\/span> imposibles<\/span>, pero<\/span> abandonar<\/span> antes de plantearse<\/span> la posibilidad<\/span> de hacer<\/span> algo<\/span> s\u00f3lo<\/span> conduce a la frustraci\u00f3n<\/span> y al desamparo<\/span>, para<\/span> Sentaro<\/span> a una<\/span> vida<\/span> en soledad<\/span> y rodeado<\/span> de alcohol, a la joven<\/span> hacia<\/span> un estado<\/span> de melancol\u00eda<\/span> e imposibilidad<\/span> de relacionarse<\/span> con nadie<\/span> que<\/span> no sea especialmente<\/span> cercano<\/span> o sensible. S\u00f3lo<\/span> Kawase<\/span> puede<\/span> transformar<\/span> en poes\u00eda<\/span> aut\u00e9ntica<\/span> la elaboraci\u00f3n<\/span> de una<\/span> pasta dulce<\/span> de jud\u00edas<\/span> en el intercambio<\/span> de ayuda<\/span> entre<\/span> el pastelero<\/span> y su<\/span> vieja<\/span> ayudante<\/span>, el mimo<\/span> y el cuidado<\/span> en la elaboraci\u00f3n<\/span> como<\/span> la perfecci\u00f3n<\/span> y simetr\u00eda<\/span> de los campos<\/span> de te<\/span> o el magn\u00e9tico<\/span> azul<\/span> de las<\/span> aguas<\/span> de los mares tropicales<\/span> de Jap\u00f3n<\/span>, la alegr\u00eda<\/span> de un trabajo<\/span> bien<\/span> hecho<\/span> como<\/span> la alegr\u00eda<\/span> de compartir<\/span> amistad<\/span> o esperanzas<\/span>, Tokue<\/span> es<\/span> la mensajera<\/span> del cambio<\/span> que<\/span> nadie<\/span> advierte<\/span> hasta<\/span> que<\/span> desaparece<\/span>.<\/p>\n

Entre<\/span> un florecimiento<\/span> de los cerezos<\/span> y otro<\/span>, la vida<\/span> de Sentaro<\/span> y la joven<\/span> no volver\u00e1<\/span> a ser<\/span> la misma<\/span>. Para Tokue<\/span> habr\u00e1<\/span> supuesto<\/span> hacer<\/span> otra<\/span> cosa<\/span> m\u00e1s<\/span> en su<\/span> vida<\/span> gracias<\/span> a su<\/span> tes\u00f3n<\/span>, su<\/span> esfuerzo<\/span>, su<\/span> apacible<\/span> b\u00fasqueda<\/span> de un sentido<\/span> a lo que<\/span> se hace<\/span> y al porqu\u00e9<\/span> se hace<\/span>. Para los otros<\/span> dos protagonistas<\/span> ser\u00e1<\/span> una<\/span> ense\u00f1anza<\/span> para<\/span> el futuro<\/span>, porque<\/span> no todo<\/span> lo que<\/span> se pierde<\/span> es<\/span> lo \u00faltimo<\/span> a perder<\/span>, porque<\/span> en la vida<\/span> surgen<\/span> oportunidades<\/span> de continuo si<\/span> se est\u00e1<\/span> dispuesto<\/span> a escuchar<\/span> el ruido<\/span> del viento<\/span> en las<\/span> hojas<\/span> o el del agua<\/span> al circular entre<\/span> piedras<\/span>. No s\u00f3lo<\/span> la nieve<\/span> ti\u00f1e<\/span> de blanco<\/span> el suelo<\/span> para<\/span> desaparecer<\/span> inmediatamente<\/span>, saborear<\/span> la ca\u00edda<\/span> de los p\u00e9talos<\/span> del cerezo<\/span> nos invita<\/span> a buscar<\/span> la belleza<\/span> en la sonrisa<\/span> o en el sabor<\/span> de un dulce<\/span> de nuestra<\/span> infancia<\/span> arrinconado<\/span> en alguna<\/span> esquina<\/span> de nuestra<\/span> memoria<\/span>. Todos<\/span> los personajes<\/span> han<\/span> sido<\/span> derrotados<\/span> alguna<\/span> vez<\/span>, incluso<\/span> varias<\/span>, las<\/span> diferencias<\/span> a la hora<\/span> de abordar<\/span> las<\/span> soluciones<\/span> sit\u00faan<\/span> al personaje<\/span> joven<\/span> en la disyuntiva<\/span> de parecerse<\/span> a Sentaro<\/span> o a Tokue<\/span>, es<\/span> la complejidad<\/span> de las<\/span> cosas<\/span> sencillas<\/span>, lo dif\u00edcil<\/span> que<\/span> se vuelve<\/span> la vida<\/span> cuando<\/span> se tuercen<\/span> nuestras<\/span> expectativas<\/span>, o incluso<\/span> cuando<\/span> abandonas<\/span> todas<\/span> las<\/span> posibles<\/span> para<\/span> no volver<\/span> a tener<\/span> un rev\u00e9s<\/span> nunca<\/span> m\u00e1s<\/span> renunciando<\/span> a sonreir<\/span>.<\/p>\n

Sentaro<\/span> habr\u00e1<\/span> roto<\/span> sus<\/span> cadenas<\/span> en el plano<\/span> final de la pel\u00edcula<\/span>, abiertamente<\/span> optimista<\/span> en contraposici\u00f3n<\/span> con mucho<\/span> del cine de Kawase<\/span>, y no habr\u00e1<\/span> sido<\/span> m\u00e9rito<\/span> suyo<\/span>, ni<\/span> se habr\u00e1<\/span> dado cuenta<\/span> a tiempo<\/span> de c\u00f3mo<\/span> actuar<\/span>. Desde<\/span> el pasado<\/span>, y en la ausencia<\/span>, Sentaro<\/span> tendr\u00e1<\/span> ganas<\/span> de volver<\/span> a re\u00edr<\/span> y gritar<\/span>, en el fondo<\/span> la vida<\/span> puede<\/span> ser<\/span> como<\/span> un dulce<\/span> o como<\/span> un amargo<\/span> licor<\/span>, a veces<\/span> s\u00f3lo<\/span> depende<\/span> de nosotros<\/span> cambiar<\/span> la perspectiva<\/span>, renunciar<\/span> a lo superfluo<\/span> y ocuparnos<\/span> de lo importante<\/span>. Sentaro<\/span>, tarde<\/span>, pero<\/span> lo ha comprendido<\/span> gracias<\/span> a Tokue<\/span>.<\/p>\n

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

Kawase retoma los temas que identifican su cine como algo muy personal, y esta vez los asume desde un punto de vista m\u00e1s amable, menos herm\u00e9tico, mucho m\u00e1s comprensible para el p\u00fablico. El resultado final no se encuentra, para mi gusto, al nivel de las excelentes \u201cEl bosque del luto\u201d […]<\/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-8195","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\n'Una pasteler\u00eda en Tokyo' (Naom\u00ed Kawase, 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\/an-una-pasteleria-en-tokyo-naomi-kawase-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"'Una pasteler\u00eda en Tokyo' (Naom\u00ed Kawase, 2015) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Kawase retoma los temas que identifican su cine como algo muy personal, y esta vez los asume desde un punto de vista m\u00e1s amable, menos herm\u00e9tico, mucho m\u00e1s comprensible para el p\u00fablico. 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