{"id":8398,"date":"2015-11-26T08:45:41","date_gmt":"2015-11-26T08:45:41","guid":{"rendered":"https:\/\/www.revistarambla.com\/the-assasin-hou-hsiao-hsien-2015\/"},"modified":"2021-04-11T18:06:05","modified_gmt":"2021-04-11T16:06:05","slug":"the-assasin-hou-hsiao-hsien-2015","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/the-assasin-hou-hsiao-hsien-2015\/","title":{"rendered":"‘The assassin’ (Hou Hsiao Hsien, 2015)"},"content":{"rendered":"

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

Una<\/span> caminante<\/span> vestida<\/span> de negro<\/span> aparece<\/span> en el paisaje<\/span>, surge de la nada y hacia<\/span> la nada se encamina<\/span>. Igual<\/span> que<\/span> aparece<\/span>, desaparece<\/span>. Letal<\/span> y, al tiempo<\/span>, imprevisible<\/span>. Su aparici\u00f3n<\/span> podr\u00eda<\/span> simbolizar<\/span> la llegada<\/span> de la muerte<\/span>, pero<\/span> tambi\u00e9n<\/span> el recuerdo<\/span> del pasado<\/span>, una<\/span> presencia<\/span> que<\/span> te<\/span> enfrenta<\/span> a tus<\/span> culpas<\/span>, o que<\/span> hace<\/span> recaer<\/span> sobre<\/span> ti<\/span>, las<\/span> culpas<\/span> de los dem\u00e1s<\/span>. Yinniang<\/span> (Qui Xu<\/span>) parece<\/span> programada<\/span> y cualquier<\/span> misi\u00f3n<\/span> de venganza<\/span> le es<\/span> posible<\/span> con independencia<\/span> del n\u00famero<\/span> de oponentes<\/span> o la solidez<\/span> de su<\/span> protecci\u00f3n<\/span>. Naturaleza<\/span>, y destreza<\/span> producto<\/span> del entrenamiento<\/span> f\u00edsico<\/span> y mental, consiguen<\/span> hacer<\/span> de Yinniang<\/span> un ser<\/span> temible<\/span> cuya<\/span> presencia<\/span> aterroriza<\/span> a quien<\/span> la ve<\/span> frente<\/span> a frente<\/span> si<\/span> es<\/span> que<\/span> tiene<\/span> tiempo<\/span> de darse<\/span> cuenta<\/span>. Dos escenas<\/span>, en blanco<\/span> y negro<\/span> y con formato<\/span> casi<\/span> cuadrado<\/span> nos presentan<\/span> al personaje<\/span> y su<\/span> escala<\/span> de valores<\/span>, la primera<\/span> reprimenda<\/span> de la maestra<\/span> equivale<\/span> a que<\/span> Yinniang<\/span> no es<\/span> un ser<\/span> totalmente<\/span> desprovisto<\/span> de valores<\/span>.<\/p>\n

Con esta<\/span> presentaci\u00f3n<\/span> parecer\u00eda<\/span> que<\/span> nos encontramos<\/span> ante una<\/span> pel\u00edcula<\/span> de acci\u00f3n<\/span>, de incontables<\/span> duelos<\/span> a muerte<\/span>, con acrobacias<\/span> incluidas<\/span>. Un ejemplo<\/span> de wuxia<\/span> a cargo de uno<\/span> de esos<\/span> poetas<\/span> de la imagen<\/span> procedentes<\/span> de Asia que<\/span> habr\u00edan<\/span> desertado<\/span> del cine de autor<\/span> para<\/span> caer<\/span> en manos<\/span> de la industria<\/span> del gigante<\/span> continental, cambiando<\/span> tesis<\/span> por<\/span> d\u00f3lares<\/span>. Si Hou<\/span> Hsiao<\/span> Hsien<\/span> hubiera<\/span> hecho<\/span> de \u201cThe assassin\u201d la pel\u00edcula<\/span> que<\/span> quisiera<\/span> el jerarca<\/span> chino de turno<\/span> algo<\/span> se habr\u00eda<\/span> torcido<\/span> definitivamente<\/span> en los creadores<\/span> de im\u00e1genes<\/span> e historias<\/span> sutiles<\/span>, hubiera<\/span> sido<\/span> un nuevo<\/span> ejemplo<\/span> de que<\/span> los resistentes<\/span> no son imbatibles<\/span>, pero<\/span> afortunadamente<\/span>, Ang<\/span> Lee o Zhang Yimou<\/span> pueden<\/span> seguir<\/span> arrastrando<\/span> su<\/span> nombre<\/span> si<\/span> as\u00ed<\/span> lo prefieren<\/span> al servicio<\/span> de efectismo<\/span> sin fondo<\/span>, Hou<\/span> Hsiao<\/span> Hsien<\/span> resiste<\/span>.<\/p>\n

Porque<\/span> la pel\u00edcula<\/span> de Hou<\/span> es<\/span> herm\u00e9tica<\/span>, llena<\/span> de aristas<\/span>, dura<\/span> como<\/span> el pedernal<\/span>, dif\u00edcilmente<\/span> asumible<\/span>, con una<\/span> diab\u00f3lica<\/span> trama<\/span> que<\/span> a los 20 minutos<\/span> puede<\/span> tenerte<\/span> completamente<\/span> aturdido<\/span> sin saber quien<\/span> es<\/span> quien<\/span> en esta<\/span> historia<\/span> de alianzas<\/span>, traiciones<\/span>, luchas<\/span> entre<\/span> dinast\u00edas<\/span> y forja<\/span> de un imperio<\/span> en manos<\/span> de un \u00fanico<\/span> rey<\/span> como<\/span> ocurri\u00f3<\/span> en la antigua<\/span> China. Yinniang<\/span> y su<\/span> maestra<\/span>, negro<\/span> y blanco<\/span>, la luz<\/span> y la oscuridad<\/span>, el ying<\/span> y el yang, encarnan<\/span> la venganza<\/span> en b\u00fasqueda<\/span> de la recuperaci\u00f3n<\/span> del honor perdido<\/span>. \u201cThe assassin\u201d se convierte<\/span> en una<\/span> pel\u00edcula<\/span> femenina<\/span> y feminista<\/span> donde<\/span> toda<\/span> la acci\u00f3n<\/span> gira<\/span> alrededor<\/span> de cuatro<\/span> mujeres y una<\/span> ausente<\/span>. Los hombres pasan<\/span> a ser<\/span> los detentadores<\/span> del poder<\/span>, pero<\/span> a su<\/span> fuerza<\/span> f\u00edsica<\/span> y arranques<\/span> de ira<\/span> les falta<\/span> la calma<\/span> del pensamiento<\/span>, el control de la ira<\/span> y de la venganza<\/span> para<\/span> que<\/span> se desate<\/span> en el momento<\/span> justo<\/span> e inesperado<\/span>.<\/p>\n

No est\u00e1<\/span> de m\u00e1s<\/span> advertir<\/span> al espectador<\/span>, no es<\/span> una<\/span> pel\u00edcula<\/span> para<\/span> mayor\u00edas<\/span>, las<\/span> escenas<\/span> de acci\u00f3n<\/span> son r\u00e1pidas<\/span>, fugaces<\/span>, exentas<\/span> de pasi\u00f3n<\/span> o hero\u00edsmo<\/span>. Son misiones<\/span> que<\/span> jalonan<\/span> el camino<\/span> de una<\/span> especie<\/span> de samurai a punto<\/span> de quedarse<\/span> sin amo<\/span>, de un esp\u00edritu<\/span> aparentemente<\/span> indomable<\/span> en el que<\/span> la sensibilidad<\/span> femenina<\/span> va<\/span> quebrando<\/span> lo que<\/span> parece<\/span> una<\/span> voluntad<\/span> determinista<\/span> de eliminaci\u00f3n<\/span>. Yinniang<\/span> pasa<\/span> de ser<\/span> una<\/span> amenaza<\/span> a una<\/span> especie<\/span> de protectora<\/span> de su<\/span> objetivo<\/span>. Tian<\/span> Ji<\/span>,an y Yinniang<\/span> tienen<\/span> un\u00a0 pasado<\/span> en com\u00fan<\/span> que<\/span> se ir\u00e1<\/span> revelando<\/span>, poco<\/span> a poco<\/span>, de manera<\/span> morosa<\/span> y calculada<\/span>, dejando<\/span> transcurrir<\/span> las<\/span> im\u00e1genes<\/span> con una<\/span> apariencia<\/span> de desconexi\u00f3n<\/span> hasta<\/span> que<\/span> las<\/span> piezas<\/span> comienzan<\/span> a encajar<\/span>. En ese<\/span> discurrir<\/span> parsimonioso<\/span> el goce<\/span> se encuentra<\/span> en el disfrute<\/span> de la imagen<\/span>, planos<\/span> muchas<\/span> veces<\/span> est\u00e1ticos<\/span> que<\/span> no dejan<\/span> de ser<\/span> concentraciones<\/span> de color, composiciones<\/span> milim\u00e9tricamente<\/span> calculadas<\/span> de planos<\/span> excelentes<\/span> en los que<\/span> el movimiento<\/span> no es<\/span> lo importante<\/span> por<\/span> si<\/span> mismo<\/span> sino<\/span> para<\/span> dotar<\/span> a la imagen<\/span> de la plasticidad<\/span> necesaria<\/span> en cada<\/span> momento<\/span>. La violencia<\/span> es<\/span> el sustrato<\/span> del que<\/span> se alimenta<\/span> la historia<\/span> de la pel\u00edcula<\/span>, pero<\/span> lo trascendente<\/span> es<\/span> su<\/span> propia<\/span> poes\u00eda<\/span> interna<\/span>, su<\/span> palabra<\/span> justa<\/span> y enigm\u00e1tica<\/span>, su<\/span> discurso<\/span> pretendidamente<\/span> abstracto<\/span>.<\/p>\n

En el desconcierto<\/span> del espectador<\/span> al carecer<\/span> de algo<\/span> a lo que<\/span> agarrarse<\/span> mientras<\/span> ve<\/span> y contempla<\/span>, Hsiao<\/span> Hsien<\/span> comprende<\/span> la niebla<\/span> que<\/span> est\u00e1<\/span> aportando<\/span> a su<\/span> historia<\/span> y la cubre<\/span> de velos<\/span>, de cortinas<\/span>, de espejos<\/span> tamizados<\/span>, vemos<\/span> (apasionante<\/span> escena<\/span> de alrededor<\/span> de 10 minutos<\/span>) a los personajes<\/span> sin llegar<\/span> a apreciarlos<\/span> con claridad<\/span>, la pareja<\/span> se vuelve<\/span> n\u00edtida<\/span> por<\/span> momentos<\/span> para<\/span> volver<\/span> a pasar<\/span> a unos<\/span> perfiles<\/span> indefinidos<\/span>, o en otro<\/span> punto<\/span> visual se aparece<\/span> la presencia<\/span> de la vengadora<\/span> sin llegar<\/span> a acercarse<\/span>. Los velos<\/span>, las<\/span> cortinas<\/span>, se mueven<\/span> conforme<\/span> el aliento<\/span> de la propia<\/span> habitaci\u00f3n<\/span> juega<\/span> con los tejidos<\/span>. El director se divierte<\/span> al tiempo<\/span> que<\/span> intentamos<\/span> ir<\/span> sabiendo<\/span> cu\u00e1ntas<\/span> historias<\/span> hay en una<\/span> tan compleja<\/span>, la del pasado<\/span>, la que<\/span> la instructora<\/span> de esta<\/span> perfecta m\u00e1quina<\/span> de matar<\/span> guarda<\/span> en su<\/span> interior para<\/span> haberse<\/span> convertido<\/span> en lo que<\/span> ahora<\/span> es<\/span>, la de los familiares<\/span> del peque\u00f1o<\/span> gobernante<\/span> que<\/span> aspira<\/span> a convertirse<\/span> en rey<\/span>, los tres<\/span> reinos<\/span> cuyas<\/span> alianzas<\/span> y fidelidades<\/span> son tan fiables<\/span> como<\/span> perecederas<\/span>, la esposa<\/span> humillada<\/span> por<\/span> la falta<\/span> de amor y la concubina<\/span> en peligro<\/span>, el mago<\/span> hechicero<\/span> y las<\/span> maldades<\/span> humanas<\/span>.<\/p>\n

Pero<\/span> m\u00e1s<\/span> all\u00e1<\/span> de todo<\/span> lo dicho<\/span>, \u201cThe assassin\u201d es<\/span> puro<\/span> deleite<\/span> visual, un abigarrado<\/span> conjunto<\/span> de planos<\/span> llenos<\/span> de objetos<\/span> cuya<\/span> composici\u00f3n<\/span> no parece<\/span> haber<\/span> sido<\/span> dejado<\/span> al azar<\/span>, una<\/span> b\u00fasqueda<\/span> de belleza<\/span> all\u00e1<\/span> donde<\/span> la c\u00e1mara<\/span> se posa<\/span>, ya<\/span> sea en la habitaci\u00f3n<\/span> del rey<\/span> como<\/span> en la m\u00e1s<\/span> humilde<\/span> de las<\/span> dependencias<\/span> de palacio<\/span>, ya<\/span> sea en una<\/span> audiencia<\/span> o en los pasillos<\/span> que<\/span> conducen<\/span> a las<\/span> habitaciones<\/span> de las<\/span> concubinas<\/span>, belleza<\/span> que<\/span> se traslada<\/span> al exterior, cuando<\/span> la acci\u00f3n<\/span> tiene<\/span> lugar<\/span> al aire<\/span> libre<\/span> tambi\u00e9n<\/span> la naturaleza<\/span> es<\/span> buscada<\/span> con sentido<\/span> est\u00e9tico<\/span>, sea un monte<\/span> o un bosque<\/span>, un promontorio<\/span> colgado<\/span> del vac\u00edo<\/span>, una<\/span> flor<\/span> o un cauce<\/span> de agua<\/span>, el primor<\/span> del director al reflejar<\/span> la historia<\/span> en im\u00e1genes<\/span> hace<\/span> olvidar<\/span> cualquier<\/span> laguna<\/span> en nuestro<\/span> entendimiento<\/span> de lo que<\/span> hemos<\/span> visto<\/span>. Cuando<\/span> concluye<\/span> la pel\u00edcula<\/span> uno<\/span> se queda<\/span> esperando<\/span> m\u00e1s<\/span> historias<\/span>, m\u00e1s<\/span> de esa<\/span> mujer<\/span> permanentemente<\/span> de negro<\/span> que<\/span> adopta<\/span> el exilio<\/span> como<\/span> respuesta<\/span> a su<\/span> desamor<\/span>, de ese<\/span> hermano<\/span> que<\/span> tiene<\/span> que<\/span> huir<\/span> y refugiarse<\/span> por<\/span> decir<\/span> la verdad<\/span>, de esa<\/span> esposa<\/span> descubierta<\/span> en sus<\/span> planes traicioneros<\/span>, de esa<\/span> concubina<\/span> que<\/span> oculta<\/span> su<\/span> verdadero<\/span> estado<\/span> para<\/span> no llamar<\/span> la atenci\u00f3n<\/span> de sus<\/span> enemigos<\/span> en la corte<\/span>, de ese<\/span> rey<\/span> llamado<\/span> a ser<\/span> asesinado<\/span> en cualquier<\/span> momento<\/span> por<\/span> exceso<\/span> de ambici\u00f3n<\/span> y equivocado<\/span> c\u00e1lculo<\/span> de sus<\/span> fuerzas<\/span>.<\/p>\n

En The assassin se enfrentan<\/span> coraz\u00f3n<\/span> y cabeza<\/span>, las<\/span> pulsiones<\/span> humanas<\/span> que<\/span> no pueden<\/span> ser<\/span> erradicadas<\/span> por<\/span> perfecto que<\/span> sea el entrenamiento<\/span>, lo dif\u00edcil<\/span> no es<\/span> odiar<\/span> a quien<\/span> has querido<\/span>, lo dif\u00edcil<\/span> es<\/span> vencer<\/span> esa<\/span> reserva<\/span> moral que<\/span> todos<\/span> tenemos<\/span> para<\/span> no llevar<\/span> a cabo<\/span> las<\/span> venganzas<\/span> m\u00e1s<\/span> absolutas<\/span> con aquellos<\/span> a los que<\/span> hemos<\/span> amado<\/span>. El destino<\/span> de Yinniang<\/span> es<\/span> el de vagar<\/span> sin rumbo<\/span>, reconstruir<\/span> sus<\/span> pedazos<\/span> conocedora<\/span> de sus<\/span> limitaciones<\/span>, la asesina<\/span> implacable tiene<\/span> un punto<\/span> d\u00e9bil<\/span> que<\/span> implica<\/span> perder<\/span> toda<\/span> referencia<\/span> futura<\/span> porque<\/span> ni<\/span> podr\u00e1<\/span> permanecer<\/span> en su<\/span> tierra<\/span> ni<\/span> puede<\/span> volver<\/span> al monasterio<\/span> donde<\/span> ha sido<\/span> entrenada<\/span>. Es<\/span> posible<\/span> que<\/span> nos crucemos<\/span> con ella<\/span> en alg\u00fan<\/span> punto<\/span> del camino<\/span>, como<\/span> no nos conoce<\/span> de nada, lo mejor<\/span> que<\/span> puede<\/span> pasar<\/span> es<\/span> que<\/span> el encuentro<\/span> sea casual y nadie<\/span> la haya<\/span> enviado<\/span> para<\/span> ajustar<\/span> sus<\/span> cuentas<\/span> personales<\/span>, ah\u00ed<\/span> es<\/span> donde<\/span> ella<\/span> es<\/span> implacable, donde<\/span> no hay sentimiento<\/span> hacia<\/span> la v\u00edctima<\/span> porque<\/span> ning\u00fan<\/span> recuerdo<\/span> del pasado<\/span> la ata<\/span> a nosotros<\/span>.<\/p>\n

Estreno<\/span> 27 de noviembre<\/span> de 2015<\/p>\n

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

Una caminante vestida de negro aparece en el paisaje, surge de la nada y hacia la nada se encamina. Igual que aparece, desaparece. Letal y, al tiempo, imprevisible. Su aparici\u00f3n podr\u00eda simbolizar la llegada de la muerte, pero tambi\u00e9n el recuerdo del pasado, una presencia que te enfrenta a tus […]<\/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-8398","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\n'The assassin' (Hou Hsiao Hsien, 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\/the-assasin-hou-hsiao-hsien-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"'The assassin' (Hou Hsiao Hsien, 2015) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Una caminante vestida de negro aparece en el paisaje, surge de la nada y hacia la nada se encamina. 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