{"id":8276,"date":"2015-11-18T08:55:32","date_gmt":"2015-11-18T08:55:32","guid":{"rendered":"https:\/\/www.revistarambla.com\/sharing-compartiendo-makoto-shinozaki-m-japon-m-2014-m-vose\/"},"modified":"2021-04-12T17:50:12","modified_gmt":"2021-04-12T15:50:12","slug":"sharing-compartiendo-makoto-shinozaki-m-japon-m-2014-m-vose","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/sharing-compartiendo-makoto-shinozaki-m-japon-m-2014-m-vose\/","title":{"rendered":"‘Sharing [Compartiendo]’, Makoto Shinozaki (Jap\u00f3n, 2014 \u00b7 VOSE)"},"content":{"rendered":"

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

Durante<\/span> el \u00faltimo<\/span> festival Casa de Asia pudimos<\/span> asistir<\/span> a la proyecci\u00f3n<\/span> de Sharing<\/i>, una<\/span> excelente<\/span> pel\u00edcula<\/span> que<\/span> se acerca<\/span> a un tema<\/span> candente<\/span> y actual en Jap\u00f3n<\/span> como<\/span> es<\/span> el de las<\/span> centrales<\/span> at\u00f3micas<\/span>. Candente<\/span> por<\/span> el recuerdo<\/span> cercano<\/span> de la explosi\u00f3n<\/span> de Fukushima y actual no solo para<\/span> Jap\u00f3n<\/span>, sino<\/span> para<\/span> todos<\/span>, por<\/span> las<\/span> graves resonancias<\/span> que<\/span> lo at\u00f3mico<\/span> adquiere<\/span> en el resto<\/span> del planeta<\/span>.<\/p>\n

En ese<\/span> sentido<\/span> Sharing<\/i> borda<\/span> un sin n\u00famero<\/span> de hallazgos<\/span>, desde<\/span> su t\u00edtulo<\/span> con el que<\/span> parece<\/span> situarnos<\/span> en el estado<\/span> de lo global en nuestra<\/span> civilizaci\u00f3n<\/span> y de lo que<\/span> nos afecta<\/span> a todos<\/span> en una<\/span> conciencia<\/span> y devenir<\/span> planetario<\/span>, a la vez<\/span> que<\/span> nombrando<\/span> la posibilidad<\/span> real del compartir<\/span><\/i> como<\/span> una<\/span> manera<\/span> de actuar<\/span> junto<\/span> con el resto<\/span> de la poblaci\u00f3n<\/span> y salir<\/span> m\u00e1s<\/span> all\u00e1<\/span> del agujero<\/span> negro<\/span> del uno<\/span>, tal<\/span> como<\/span> lo expresa<\/span> en una<\/span> de sus<\/span> clases<\/span> en la universidad<\/span> la protagonista<\/span> de la pel\u00edcula<\/span>.<\/p>\n

La soluci\u00f3n<\/span> viene<\/span> a decir<\/span> la protagonista<\/span>, y con ella<\/span> la pel\u00edcula<\/span>, es<\/span> ese<\/span> compartir<\/span><\/i>, ese<\/span> Sharing,<\/i> aunque<\/span> tras<\/span> esta<\/span> clase<\/span> magistral<\/span>, ella<\/span> tenga<\/span> que<\/span> atravesar<\/span> los pasadizos<\/span> inabarcables<\/span> de su paranoia y esa<\/span> visi\u00f3n<\/span> de lo siniestro<\/span> provocada<\/span> por<\/span> el estatuto<\/span> de lo Real Cotidiano<\/span> que<\/span> no es<\/span> ni<\/span> m\u00e1s<\/span> ni<\/span> menos<\/span> que<\/span> la amenaza<\/span> at\u00f3mica<\/span>, y en su caso<\/span>, el recuerdo<\/span> de su compa\u00f1ero<\/span> muerto<\/span> en el accidente<\/span> de Fukushima.<\/p>\n

Acompa\u00f1\u00e1ndose<\/span> de met\u00e1foras<\/span> visuales<\/span> simples e incluso<\/span> t\u00f3picas<\/span>\u00a0 (pasadizos<\/span>, repeticiones<\/span> on\u00edricas<\/span> y desdoblamientos<\/span>), la pel\u00edcula<\/span> propone entrelazar<\/span> este<\/span> Real at\u00f3mico<\/span> (como<\/span> amenaza<\/span> cotidiana<\/span>) con las<\/span> consecuencias<\/span> de la enfermedad<\/span> ps\u00edquica<\/span> y la configuraci\u00f3n<\/span> de lo siniestro<\/span>, de la muerte<\/span> como<\/span> amenaza<\/span> de lo cotidiano<\/span>; de manera<\/span> que<\/span>\u00a0 la pel\u00edcula<\/span> en su\u00a0 construcci\u00f3n<\/span> narrativa<\/span> plantea<\/span> ambiciones<\/span> de vuelo<\/span> literario<\/span> al mejor<\/span> estilo<\/span> de un J.G. Ballard en \u201cCrash\u201d: tambi\u00e9n<\/span> en Sharing<\/i> lo tecnol\u00f3gico<\/span> deja<\/span> sus<\/span> huellas<\/span>, aunque<\/span> ya<\/span> no son las<\/span> cicatrices en los cuerpos<\/span> tal<\/span> como<\/span> suced\u00eda<\/span> en Crash, sino<\/span> que<\/span> aqu\u00ed<\/span> atravesamos<\/span> al campo<\/span> de lo imaginario<\/span>, donde<\/span> esas<\/span> huellas<\/span> son precisamente<\/span> la construcci\u00f3n<\/span> de lo SINIESTRO<\/span> (en may\u00fasculas<\/span>).<\/p>\n

Si su director Makoto<\/span> Shinozaki<\/span> hab\u00eda<\/span> practicado<\/span> anteriormente<\/span> con el cine de terror, mediante<\/span> fantasmas<\/span> y dobles<\/span> al mejor<\/span> estilo<\/span> japon\u00e9s<\/span>: Walking With the Dog<\/i> (2003),\u00a0 Kaiki<\/span>: Tales of Terror from Tokyo<\/i> (2010),\u00a0 aqu\u00ed<\/span> ya<\/span> no se trata<\/span> solo del miedo<\/span> a lo desconocido<\/span>, sino<\/span> que<\/span> construye<\/span> un clima<\/span> donde<\/span> lo siniestro<\/span> embarga<\/span> a sus<\/span> protagonistas<\/span> y con ellos<\/span> nos sumerge<\/span> en una<\/span> exquisita<\/span> atm\u00f3sfera<\/span> de angustia<\/span>. Y sobra<\/span> decirlo<\/span>: lo siniestro<\/span> provoca<\/span> algo<\/span> m\u00e1s<\/span> que<\/span> miedo<\/span>, es<\/span> un espanto<\/span> que<\/span> atraviesa<\/span> lo real y que<\/span> nos seguir\u00e1<\/span> acompa\u00f1ando<\/span> a la salida<\/span> del cine.<\/p>\n

Por si desconocen la sensaci\u00f3n de lo siniestro<\/span>, en la pel\u00edcula<\/span> se nos presentan casi todas sus<\/span> variables en las<\/span> vivencias de la protagonista<\/span> y de alg\u00fan personaje tangencial: la repetici\u00f3n como<\/span> pesadilla de lo cotidiano<\/span>, la repetici\u00f3n de lo id\u00e9ntico; la imagen del doble que<\/span> se prolonga en su propia sombra como<\/span> la extensi\u00f3n de otro, la p\u00e9rdida del yo. Al peso de lo siniestro<\/span> como<\/span> enfermedad<\/span> del yo, se le suma en Sharing<\/i> la gravedad<\/span> de lo at\u00f3mico<\/span>, y el gran encuentro<\/span> de la pel\u00edcula<\/span> es<\/span> poder<\/span> articular entre<\/span> estos<\/span> dos polos<\/span> una<\/span> trama<\/span> que<\/span> los une<\/span>, creando<\/span> as\u00ed<\/span> una<\/span> manera<\/span> diferente<\/span> de entender<\/span> y entendernos<\/span> en el \u00e1mbito<\/span> global de lo destructivo<\/span> que<\/span> acompa\u00f1a<\/span> a la creaci\u00f3n<\/span> de la energ\u00eda<\/span> at\u00f3mica<\/span>.<\/p>\n

En su construcci\u00f3n<\/span> por<\/span> capas y tiempos tangenciales de la narraci\u00f3n central, Sharing <\/i>plantea<\/span> tambi\u00e9n<\/span> la dificultad de compartir<\/span> el sentir de los otros en la p\u00e9rdida y la muerte<\/span>, empat\u00eda necesaria para<\/span> poder<\/span> solidarizarse y hacer viable la continuidad de lo humano.<\/p>\n

En ese sentido es dif\u00edcil no recordar el share<\/i> que acompa\u00f1a casi todas nuestras acciones en Internet. Un share<\/i> mediante el cual enviamos miles de firmas para aquellas situaciones que no queremos (la energ\u00eda at\u00f3mica, por ejemplo), pero a la vez un share<\/i> que es incapaz de anular la repetici\u00f3n de lo cotidiano en la construcci\u00f3n de m\u00e1s centrales nucleares, o como se dice en la pel\u00edcula, \u201cen la nueva puesta en marcha de las que existen, como si nada hubiese sucedido\u201d.\u00a0<\/i><\/p>\n

Nosotros hacemos Sharing<\/i>, \u201cpero desde Tokyo todo se ve de otra manera\u201d como se dice en la pel\u00edcula; y nosotros, espectadores, sabemos que la eclosi\u00f3n nunca se produce en el centro, sino en lugares lejanos como en Chernobyl o Fukushima; por eso, \u201cdesde Tokyo todo se ve de otra manera\u201d<\/i>. Espeluznante.<\/p>\n

Sharing, por su parte, se centra en la cat\u00e1strofe de Fukushima, que ha sido tratada en los \u00faltimos a\u00f1os por un buen n\u00famero de documentales que se acercan al tema desde diferentes perspectivas. La aproximaci\u00f3n de Makoto Shinozaki, sin embargo, es muy diferente, pues prefiere utilizar las herramientas de la ficci\u00f3n en esta f\u00e1bula con elementos fant\u00e1sticos donde dos mujeres tratan de superar el gran trauma del Jap\u00f3n actual.<\/p>\n

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

Durante el \u00faltimo festival Casa de Asia pudimos asistir a la proyecci\u00f3n de Sharing, una excelente pel\u00edcula que se acerca a un tema candente y actual en Jap\u00f3n como es el de las centrales at\u00f3micas. Candente por el recuerdo cercano de la explosi\u00f3n de Fukushima y actual no solo para […]<\/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-8276","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\n'Sharing [Compartiendo]', Makoto Shinozaki (Jap\u00f3n, 2014 \u00b7 VOSE) - 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\/sharing-compartiendo-makoto-shinozaki-m-japon-m-2014-m-vose\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"'Sharing [Compartiendo]', Makoto Shinozaki (Jap\u00f3n, 2014 \u00b7 VOSE) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Durante el \u00faltimo festival Casa de Asia pudimos asistir a la proyecci\u00f3n de Sharing, una excelente pel\u00edcula que se acerca a un tema candente y actual en Jap\u00f3n como es el de las centrales at\u00f3micas. 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