{"id":8403,"date":"2015-11-27T08:17:02","date_gmt":"2015-11-27T08:17:02","guid":{"rendered":"https:\/\/www.revistarambla.com\/o-futebol-sergio-oksman-2015\/"},"modified":"2021-04-11T18:03:51","modified_gmt":"2021-04-11T16:03:51","slug":"o-futebol-sergio-oksman-2015","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/o-futebol-sergio-oksman-2015\/","title":{"rendered":"‘O futebol’ (Sergio Oksman, 2015)"},"content":{"rendered":"

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

Las \u00faltimas<\/span> ediciones<\/span> de Locarno<\/span> suelen<\/span> servir<\/span> para<\/span> calibrar<\/span> el peso del cine espa\u00f1ol<\/span> m\u00e1s<\/span> arriesgado<\/span>, m\u00e1s<\/span> novedoso<\/span>. Oksman<\/span> fue<\/span> uno<\/span> de los representantes<\/span> que<\/span> exhibieron<\/span> su<\/span> cine en la pasada<\/span> edici\u00f3n<\/span> bajo<\/span> la etiqueta<\/span> \u201cEspa\u00f1a\u201d<\/span>, aunque<\/span> \u00e9l<\/span> es<\/span> brasile\u00f1o<\/span>, junto<\/span> con Mauro Herce<\/span>, Lois Pati\u00f1o<\/span>, Xacio<\/span> Ba\u00f1o<\/span> y Jos\u00e9<\/span> Luis Guer\u00edn<\/span>, todos<\/span> ellos<\/span> premiados<\/span> en diversos<\/span> festivales<\/span>, y todos<\/span> ellos<\/span>, como<\/span> es<\/span> marca<\/span> del pa\u00eds<\/span>, sin estrenar<\/span> en salas<\/span> a nivel<\/span> general. Lo conseguir\u00e1<\/span> Guer\u00edn<\/span>, porque<\/span> tiene<\/span> otro<\/span> prestigio<\/span> y porque<\/span> se distribuye<\/span> a s\u00ed<\/span> mismo<\/span>, pero<\/span> estamos<\/span> ante esa<\/span> idiota<\/span> categorizaci\u00f3n<\/span> de cine para<\/span> estrenar<\/span> y cine de festivales<\/span>, como<\/span> si<\/span> el p\u00fablico<\/span> fuera<\/span>, en general, un reba\u00f1o<\/span> de borregos<\/span> incapaz<\/span> de escoger<\/span> entre<\/span> diferentes<\/span> propuestas<\/span> y sensibilidades<\/span>, como<\/span> si<\/span> con la etiqueta<\/span> \u201ccine de festivales\u201d<\/span> s\u00f3lo<\/span> un pu\u00f1ado<\/span> de perros<\/span> verdes<\/span> fu\u00e9ramos<\/span> capaces<\/span> de disfrutar<\/span> con otra<\/span> manera<\/span> de contar<\/span> historias<\/span> y con otras<\/span> historias<\/span> que<\/span> contar<\/span>.<\/p>\n

\u201cO futebol\u201d<\/span> hurga<\/span> en ese<\/span> nuevo<\/span> cine donde<\/span> la ficci\u00f3n<\/span> y la realidad<\/span> se confunden<\/span> hasta<\/span> el punto<\/span> de que<\/span> no terminas<\/span> de saber d\u00f3nde<\/span> empieza<\/span> una<\/span> y termina<\/span> la otra<\/span>, o si<\/span> hay algo<\/span> de verdad<\/span> en lo que<\/span> se ve<\/span> o si<\/span> todo<\/span> es<\/span> imaginario<\/span>. La pel\u00edcula<\/span> est\u00e1<\/span> al servicio<\/span> de espantar<\/span> unos<\/span> fantasmas<\/span> y lo que<\/span> consigue<\/span> es<\/span> concluir<\/span> con el fantasma<\/span> de una<\/span> ausencia<\/span> definitiva<\/span>, marcada<\/span> por<\/span> enormes<\/span> tiempos<\/span> muertos<\/span> de cotidianeidad<\/span>, lo que<\/span> comienza<\/span> intentando<\/span> ser<\/span> un intento<\/span> de reencuentro<\/span> padre-hijo<\/span> se transforma<\/span> en la imposibilidad<\/span> de comunicaci\u00f3n<\/span> y en el abrupto<\/span> final producido<\/span> por<\/span> una<\/span> muerte<\/span> repentina<\/span>. Porque<\/span> los protagonistas<\/span> de la historia<\/span> son el propio<\/span> director y su<\/span> padre, actuando<\/span> como<\/span> ellos<\/span> mismos<\/span>, reencontrados<\/span> tras<\/span> 20 a\u00f1os<\/span> sin verse en junio<\/span> de 2013, en Sao Paulo, donde<\/span> se emplazan<\/span> para<\/span> pasar<\/span> juntos<\/span> el mundial<\/span> de f\u00fatbol<\/span> de 2014, una<\/span> cita<\/span> a un a\u00f1o<\/span> vista que<\/span> se cumple<\/span>,\u00a0 y tras<\/span> ese<\/span> breve<\/span> pre\u00e1mbulo<\/span> a las<\/span> puertas<\/span> de un estadio<\/span> la historia<\/span> se retoma<\/span> justo<\/span> el d\u00eda<\/span> en que<\/span> comienza<\/span> el campeonato<\/span>. Cada<\/span> escena<\/span> ir\u00e1<\/span> precedida<\/span> del r\u00f3tulo<\/span> con el partido<\/span> que<\/span> se jugaba<\/span> ese<\/span> d\u00eda<\/span> en el mundial<\/span>, ni<\/span> sabremos<\/span> el resultado<\/span> ni<\/span> veremos<\/span> la acci\u00f3n<\/span>, ni<\/span> nos interesas<\/span>, porque<\/span> el f\u00fatbol<\/span> es<\/span> la excusa<\/span> de la reuni\u00f3n<\/span>, pero<\/span> el f\u00fatbol<\/span> aparenta<\/span> un ente<\/span> que<\/span> sirve<\/span> para<\/span> no hablar<\/span>, para<\/span> no enfrentarse<\/span> al inc\u00f3modo<\/span> silencio<\/span> del que<\/span> nada tiene<\/span> que<\/span> decir<\/span>.<\/p>\n

Una<\/span> pel\u00edcula<\/span> en la que<\/span> el f\u00fatbol<\/span> parecer\u00eda<\/span> el lugar<\/span> com\u00fan<\/span> que<\/span> unir\u00eda<\/span> a padre e hijo<\/span> pero<\/span> que<\/span> juega<\/span> como<\/span> elemento<\/span> distanciador<\/span>, el f\u00fatbol<\/span> empapa<\/span> las<\/span> conversaciones<\/span>, los horarios<\/span>, la conducta<\/span> de la ciudad<\/span>, pero<\/span> el f\u00fatbol<\/span> no se ve<\/span>, ni<\/span> se ve<\/span> en pantalla<\/span> ni<\/span> los protagonistas<\/span> acuden<\/span> a verlo<\/span>, lo m\u00e1s<\/span> cerca<\/span> que<\/span> se encuentran<\/span> de un estadio<\/span> es<\/span> a varias<\/span> decenas<\/span> de metros, encerrados<\/span> en un coche<\/span> e intentando<\/span> averiguar<\/span> el resultado<\/span> del partido<\/span> por<\/span> las<\/span> reacciones<\/span> y exclamaciones<\/span> del p\u00fablico<\/span>, el f\u00fatbol<\/span> es<\/span> el punto<\/span> de conexi\u00f3n<\/span> com\u00fan<\/span>, pero<\/span> fuera<\/span> del f\u00fatbol<\/span> apenas<\/span> si<\/span> queda<\/span> nada. En la relaci\u00f3n<\/span> entre<\/span> Sergio y su<\/span> padre hay un horizonte<\/span> perdido<\/span>, un horizonte<\/span> quebrado<\/span> por<\/span> un divorcio<\/span> que<\/span> distanci\u00f3<\/span> f\u00edsicamente<\/span>, y quiz\u00e1s<\/span> emocionalmente<\/span>, a ambos<\/span>. Una<\/span> ruptura<\/span> que<\/span>, pese<\/span> a quererlo<\/span>, les impide<\/span> hablar<\/span> con confianza<\/span>, ni<\/span> tan siquiera<\/span> saben<\/span> qu\u00e9<\/span> decirse<\/span>, es<\/span> tal<\/span> la distancia<\/span>, tan amplio<\/span> el abismo<\/span>, que<\/span> los di\u00e1logos<\/span> son escasos<\/span>. Hay tanto<\/span> silencio<\/span> en la pel\u00edcula<\/span> que<\/span> hasta<\/span> los recuerdos<\/span> han<\/span> de proyectarse<\/span> desde<\/span> viejas<\/span> pel\u00edculas<\/span> caseras<\/span> de s\u00faper<\/span> 8, recuerdos<\/span> de viajes<\/span> y de una<\/span> boda<\/span> en la que<\/span> todo<\/span> termin\u00f3<\/span> mal, unas<\/span> escenas<\/span> de felicidad<\/span> puntual<\/span> del pasado<\/span> que<\/span> contrastan<\/span> con el fracaso<\/span> presente<\/span> de una<\/span> empresa<\/span> de reparaci\u00f3n<\/span> el\u00e9ctrica<\/span> condenada<\/span> a la quiebra<\/span>, como<\/span> la propia<\/span> situaci\u00f3n<\/span> personal del padre. Anciano<\/span>, solo, ausente<\/span>, reproch\u00e1ndose<\/span> esa<\/span> relaci\u00f3n<\/span> perdida<\/span> con un hijo<\/span> que<\/span>, ahora<\/span>, se encuentra<\/span> en una<\/span> situaci\u00f3n<\/span> complicada<\/span> con su<\/span> propio<\/span> hijo<\/span> al divorciarse<\/span> de su<\/span> esposa<\/span>.<\/p>\n

Cuando<\/span> m\u00e1s<\/span> dudas<\/span> te<\/span> plantea<\/span> lo que<\/span> ves<\/span>, cuando<\/span> m\u00e1s<\/span> convencido<\/span> de que<\/span> lo relatado<\/span> puede<\/span> ser<\/span> m\u00e1s<\/span> una<\/span> composici\u00f3n<\/span> ficticia<\/span> que<\/span> la real situaci\u00f3n<\/span> entre<\/span> padre e hijo<\/span>, llega<\/span> la vida<\/span> y te<\/span> da<\/span> un zarpazo<\/span>. La angustia<\/span> del personaje<\/span> anciano<\/span>, asediado<\/span> por<\/span> deudas<\/span>, sabedor<\/span> de que<\/span> su<\/span> situaci\u00f3n<\/span> econ\u00f3mica<\/span>\u00a0 es<\/span> pr\u00e1cticamente<\/span> irreversible, esperanzado<\/span> en que<\/span> esa<\/span> aparici\u00f3n<\/span> inesperada<\/span> del hijo<\/span> sea una<\/span> se\u00f1al<\/span> de que<\/span> todo<\/span> puede<\/span> revertir<\/span>, llega<\/span> la muerte<\/span> a arreglar<\/span> los problemas<\/span> y poner<\/span> punto<\/span> y final al intento<\/span> de comunicaci\u00f3n<\/span>. Inesperadamente<\/span>, ajena<\/span> al plan de rodaje<\/span>, la realidad<\/span> se cruza<\/span> en la historia<\/span> y fulmina<\/span> a uno<\/span> de los personajes<\/span>. O futebol<\/span> se transforma<\/span> en la cr\u00f3nica<\/span> del f\u00edn<\/span>, de un vagar<\/span> interminable por<\/span> calles<\/span> des\u00e9rticas<\/span> en una<\/span> noche<\/span> donde<\/span> se celebra<\/span> la final del mundial<\/span>, una<\/span> noche<\/span> en que<\/span> Sergio, como<\/span> el personaje<\/span> de \u201cAvanti<\/span> popolo\u201d<\/span>, tambi\u00e9n<\/span> pel\u00edcula<\/span> brasile\u00f1a<\/span>, circula<\/span> por<\/span> calles<\/span> estrechas<\/span> y mal iluminadas<\/span> por<\/span> las<\/span> calles<\/span> de la ciudad<\/span>, una<\/span> ciudad<\/span> alejada<\/span> del mito<\/span> tur\u00edstico<\/span>, unas<\/span> calles<\/span> de un barrio humilde<\/span> por<\/span> las<\/span> que<\/span> el director se mueve<\/span> con el coche<\/span> de su<\/span> padre, un barrio que<\/span> ni<\/span> fue<\/span> el suyo<\/span>, un coche<\/span> que<\/span>, como<\/span> el resto<\/span> de pertenencias<\/span> del padre, terminar\u00e1n<\/span> en un contenedor<\/span> o abandonadas<\/span>, objetos<\/span> solitarios<\/span> de un personaje<\/span> solitario<\/span> que<\/span> muri\u00f3<\/span> acompa\u00f1ado<\/span>.<\/p>\n

Los personajes<\/span> se refugian<\/span> en el f\u00fatbol<\/span> para<\/span> mantener<\/span> lazos<\/span> del pasado<\/span> presentes<\/span>, es<\/span> una<\/span> forma de mantener<\/span> viva una<\/span> historia<\/span> colectiva<\/span>, pero<\/span> tambi\u00e9n<\/span> una<\/span> historia<\/span> familiar o de amistad<\/span>. Pero<\/span> tambi\u00e9n<\/span> la memoria<\/span> enflaquece<\/span>, los recuerdos<\/span> del hijo<\/span> no coinciden<\/span> con los del padre, la distancia<\/span> resulta<\/span> insalvable<\/span> y dolorosa<\/span> porque<\/span> es<\/span> la constataci\u00f3n<\/span> de un imposible<\/span> reencuentro<\/span>. Juntos<\/span>, pero<\/span> sin apenas<\/span> mirarse<\/span>, uno<\/span> al lado<\/span> del otro<\/span>, uno<\/span> detr\u00e1s<\/span> del otro<\/span>, sentados<\/span> en el interior de un veh\u00edculo<\/span> filmados<\/span> desde<\/span> el asiento<\/span> trasero<\/span>, sin ver<\/span> sus<\/span> rostros<\/span>, sus<\/span> reacciones<\/span>, vista fija<\/span> al frente<\/span> atentos<\/span> a la circulaci\u00f3n<\/span>, uno<\/span> por<\/span> conducir<\/span> y otro<\/span> por<\/span> sentirse<\/span> inseguro<\/span> con ese<\/span> conductor, un conductor que<\/span> no fue<\/span> capaz<\/span> de mantener<\/span> un rumbo<\/span> que<\/span> les permitiera<\/span> permanecer<\/span> conectados<\/span>. El f\u00fatbol<\/span> se transforma<\/span> en el pasado<\/span>, mientras<\/span> que<\/span> el presente<\/span> termina<\/span> con una<\/span> derrota<\/span> abrupta<\/span> en el interior de un hospital. Un mes<\/span> en la vida<\/span> de dos personas, tiempos<\/span> muertos<\/span> de silencios<\/span> y rutinas<\/span>, una<\/span> excusa<\/span> de ocupaci\u00f3n<\/span> para<\/span> mantener<\/span> cierta<\/span> distancia<\/span> con un hijo<\/span> demasiado<\/span> tiempo<\/span> ausente<\/span>, una<\/span> vida<\/span> llena<\/span> de casi<\/span> nada m\u00e1s<\/span> que<\/span> de cajones<\/span> repletos<\/span> de revistas<\/span> de pasatiempos<\/span>, un viaje<\/span> de acercamiento<\/span> que<\/span> termina<\/span> siendo<\/span> una<\/span> despedida<\/span>, unas<\/span> normas<\/span> marcadas<\/span> en un campo<\/span> de f\u00fatbol<\/span> que<\/span> saltan<\/span> por<\/span> los aires<\/span> cuando<\/span> lo que<\/span> se impone<\/span> es<\/span> la vida<\/span>. Una<\/span> pel\u00edcula<\/span> con la que<\/span> te<\/span> apetece<\/span> volver<\/span> una<\/span> y otra<\/span> vez<\/span> al cine para<\/span> respirar<\/span> verdad<\/span>.<\/p>\n

‘O Futebol<\/span>‘, del brasile\u00f1o<\/span> Sergio Oksman<\/span>, abrir\u00e1<\/span> el V Festival M\u00e1rgenes<\/span> cine online<\/a><\/i><\/b><\/span><\/p>\n

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

Las \u00faltimas ediciones de Locarno suelen servir para calibrar el peso del cine espa\u00f1ol m\u00e1s arriesgado, m\u00e1s novedoso. Oksman fue uno de los representantes que exhibieron su cine en la pasada edici\u00f3n bajo la etiqueta \u201cEspa\u00f1a\u201d, aunque \u00e9l es brasile\u00f1o, junto con Mauro Herce, Lois Pati\u00f1o, Xacio Ba\u00f1o y Jos\u00e9 […]<\/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-8403","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\n'O futebol' (Sergio Oksman, 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\/o-futebol-sergio-oksman-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"'O futebol' (Sergio Oksman, 2015) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Las \u00faltimas ediciones de Locarno suelen servir para calibrar el peso del cine espa\u00f1ol m\u00e1s arriesgado, m\u00e1s novedoso. 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