{"id":8428,"date":"2015-12-02T23:47:46","date_gmt":"2015-12-02T23:47:46","guid":{"rendered":"https:\/\/www.revistarambla.com\/larteria-invisible\/"},"modified":"2021-04-11T17:52:03","modified_gmt":"2021-04-11T15:52:03","slug":"larteria-invisible","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/larteria-invisible\/","title":{"rendered":"\u00abL’arteria invisible\u00bb"},"content":{"rendered":"

Sinopsis:<\/span> \u201cLa arteria<\/span> invisible\u201d cuenta<\/span> la historia<\/span> de un pol\u00edtico<\/span> con problemas<\/span> en su<\/span> matrimonio<\/span> que<\/span> acaba<\/span> convirti\u00e9ndose<\/span> en v\u00edctima<\/span> de un chantaje<\/span>. Una<\/span> joven<\/span> prostituta<\/span> lo acusa<\/span> falsamente<\/span> de abuso<\/span> sexual y cuando<\/span> la noticia<\/span> llega<\/span> a los medios<\/span> de comunicaci\u00f3n<\/span>, su<\/span> imagen<\/span> y su<\/span> carrera<\/span> pol\u00edtica<\/span> se ven<\/span> destruidas<\/span>.<\/p>\n

Hay pel\u00edculas<\/span> que<\/span> se ocultan<\/span>, que<\/span> muestran<\/span> solo una<\/span> parte<\/span> de s\u00ed<\/span> misma<\/span>, que<\/span> esperan<\/span> ser<\/span> desentra\u00f1adas<\/span> por<\/span> el espectador<\/span> a quien<\/span> exigen<\/span> una<\/span> lectura<\/span> reflexiva<\/span> sobre<\/span> su<\/span> propio<\/span> tratamiento<\/span> e historia<\/span>.<\/p>\n

\u201cLa arteria<\/span> invisible\u201d, la \u00faltima<\/span> pel\u00edcula<\/span> de Pere<\/span> Vil\u00e0<\/span> Barcel\u00f3<\/span>, es<\/span> sin duda<\/span> una<\/span> de estas<\/span> \u00b4pel\u00edculas<\/span> que<\/span> no sabemos<\/span> si<\/span> llamar<\/span> t\u00edmidas<\/span>, encriptadas<\/span>, reflexivas<\/span>, oscuras<\/span> o complejas<\/span>, y que<\/span> nos obliga<\/span>, una<\/span> vez<\/span> acabada<\/span> la pel\u00edcula<\/span>, a repensar<\/span> lo visto<\/span> y vivido<\/span> en el cine y preguntarnos<\/span>: \u00bfDe qu\u00e9<\/span> va<\/span> despu\u00e9s<\/span> de todo<\/span> \u201cLa arteria<\/span> invisible\u201d?<\/p>\n

La sinopsis<\/span> de la pel\u00edcula<\/span> describe una<\/span> acci\u00f3n<\/span>, un chantaje<\/span> que<\/span> es<\/span> una<\/span> de las<\/span> l\u00edneas<\/span> de la trama<\/span> narrativa<\/span>, pero<\/span> que<\/span> no es<\/span> la principal ni<\/span> lo que<\/span> m\u00e1s<\/span> pesa<\/span> en el conjunto<\/span>. De hecho<\/span> el fino<\/span> tejido<\/span> que<\/span> anuda<\/span> la trama<\/span> de los cuatro<\/span> personajes<\/span> que<\/span> habitan<\/span> la pel\u00edcula<\/span> apunta<\/span> mucho<\/span> m\u00e1s<\/span> alto y en esa<\/span> trama<\/span> encontramos<\/span> momentos<\/span> brillantes<\/span> y muy<\/span> sugerentes<\/span>, aunque<\/span> por<\/span> desgracia<\/span>, la pel\u00edcula<\/span> no lo es<\/span> tanto<\/span>.<\/p>\n

Desconozco<\/span> el libro<\/span> en que<\/span> se basa<\/span> la trama<\/span> de la pel\u00edcula<\/span>, la novela<\/span> ‘El Peatge<\/span>‘ de Joaquim<\/span> Vidal y Josep<\/span> Valls<\/span>, pero<\/span> es<\/span> muy<\/span> probable que<\/span> sea el libro<\/span> el que<\/span> conforme<\/span> ese<\/span> fino<\/span> tejido<\/span> de relaciones<\/span> que<\/span> sirven<\/span> de tel\u00f3n<\/span> y fondo<\/span> de la pel\u00edcula<\/span>, aunque<\/span> esta<\/span> vaya<\/span> en verdad<\/span> de otra<\/span> cosa<\/span>.<\/p>\n

Creo<\/span> que<\/span> en \u201cLa arteria<\/span> invisible\u201d la trama<\/span> se diluye<\/span> en el trabajo<\/span> de su<\/span> director, que<\/span> de manera<\/span> reiterativa<\/span> se esfuerza<\/span> en mostrarnos<\/span> su<\/span> estilo<\/span>, su<\/span> manera<\/span> de encuadrar<\/span>, su<\/span> concepci\u00f3n<\/span> de la puesta<\/span> en escena<\/span>, su<\/span> gusto por<\/span> los silencios<\/span> y lo elidido<\/span>, de aquello<\/span> que<\/span> no se muestra<\/span> y queda<\/span> fuera<\/span> de cuadro<\/span>. Son condimentos<\/span> formales<\/span> que<\/span> hacen<\/span> a un director de cine y que<\/span> construyen<\/span> su<\/span> cine, que<\/span> as\u00ed<\/span> demuestra<\/span> su<\/span> saber y el conocer<\/span> de su<\/span> oficio<\/span>, y que<\/span> puede<\/span> provocar<\/span> en el espectador<\/span> cierta<\/span> correspondencia<\/span> est\u00e9tica<\/span> por<\/span> su<\/span> mundo<\/span> y atm\u00f3sfera<\/span>, configurando<\/span> aquello<\/span> que<\/span> se entiende<\/span> por<\/span> directores<\/span> de culto<\/span>, por<\/span> lo que<\/span> el cine como<\/span> arte<\/span> es<\/span> capaz<\/span> de expresar<\/span> como<\/span> pensamiento<\/span> en im\u00e1genes<\/span>.<\/p>\n

Quiero<\/span> decir<\/span> que<\/span> en la pel\u00edcula<\/span> se adivina<\/span> la voluntad<\/span> formal y expresiva<\/span> de su<\/span> director, que<\/span> de manera<\/span> omnipresente<\/span> impone<\/span> un estilo<\/span> propio<\/span>. Parece<\/span> ser<\/span> que<\/span> en el mundo<\/span> del cine de autor<\/span> y que<\/span> en un gui\u00f1o<\/span> c\u00f3mplice<\/span> hacia<\/span> ciertos<\/span> jurados<\/span> de festivales<\/span>, esta<\/span> mirada<\/span> personal sea muy<\/span> bien<\/span> valorada<\/span>.<\/p>\n

Creo<\/span> que<\/span> la pel\u00edcula<\/span> se resiente<\/span> de esta<\/span> voluntad<\/span> de estilo<\/span> y se hace<\/span> as\u00ed<\/span> algo<\/span> cansina<\/span> ya<\/span> que<\/span> el estilo<\/span> de Pere<\/span> Vil\u00e0<\/span> es<\/span> algo<\/span> remanido<\/span> y tosco<\/span>, que<\/span> sus<\/span> encuadres<\/span> y puesta<\/span> en escena<\/span> pueden<\/span> llegar<\/span> a ser<\/span> interesantes<\/span> pero<\/span> est\u00e1n<\/span> cargados<\/span> de un manierismo<\/span> hoy<\/span> d\u00eda<\/span> ya<\/span> muy<\/span> t\u00f3pico<\/span> y por<\/span> lo tanto<\/span> aquello<\/span> que<\/span> fue<\/span> rupturista<\/span> a\u00f1os<\/span> atr\u00e1s<\/span>, hoy<\/span> es<\/span> convencional<\/span>.<\/p>\n

Esta<\/span> sobrecarga<\/span> de estilo<\/span> se contagia<\/span> a los actores<\/span> que<\/span> parecen<\/span> m\u00e1s<\/span> pendientes<\/span> de la zona<\/span> del cuadro<\/span> en que<\/span> aparecen<\/span>, que<\/span> no en dar<\/span> vuelo<\/span> a unos<\/span> personajes<\/span> complejos<\/span> y con silencios<\/span> tan dif\u00edciles<\/span> de sostener<\/span>. La sensaci\u00f3n<\/span> es<\/span> que<\/span> los actores<\/span> lo hacen<\/span> bien<\/span>, es<\/span> decir<\/span>, lo mejor<\/span> que<\/span> pueden<\/span>, pero<\/span> que<\/span> la voluntad<\/span> estil\u00edstica<\/span> del film los supera<\/span>.<\/p>\n

Pero<\/span> volvamos<\/span> a la pregunta<\/span> inicial<\/span>: de qu\u00e9<\/span> va<\/span> \u201cLa arteria<\/span> invisible\u201d? Qu\u00e9<\/span> propone esta<\/span> pel\u00edcula<\/span> de dos horas<\/span> con una<\/span> lentitud<\/span> y una<\/span> forma que<\/span> muy<\/span> posiblemente<\/span> trunquen<\/span> su<\/span> aceptaci\u00f3n<\/span> popular, su<\/span> recorrido<\/span> en un \u00e1mbito<\/span> de distribuci\u00f3n<\/span> comercial<\/span>? Es<\/span> decir<\/span>: \u00bfa santo<\/span> de qu\u00e9<\/span> tanta<\/span> distinci\u00f3n<\/span> estil\u00edstica<\/span>; tiene<\/span> en verdad<\/span> algo<\/span> que<\/span> aportar<\/span>?<\/p>\n

Veamos<\/span>: en primer lugar<\/span>, el gran<\/span> acierto<\/span> de \u201cLa arteria<\/span> invisible\u201d estriba<\/span> en su<\/span> voluntad<\/span> de situar<\/span> la conformaci\u00f3n<\/span> m\u00edtica<\/span> de nuestro<\/span> destino<\/span> como<\/span> hombres y mujeres, con una<\/span> trama<\/span> vital que<\/span> nos supera<\/span> y que<\/span> se deposita<\/span> en el contexto<\/span> de nuestra<\/span> historia<\/span>, familia<\/span> y mundo<\/span>; es<\/span> decir<\/span>, propone las<\/span> bases del drama cl\u00e1sico<\/span> en una<\/span> apuesta<\/span> arriesgada<\/span> e interesante<\/span>, a la manera<\/span> en que<\/span> lo han<\/span> hecho<\/span> grandes<\/span> directores<\/span> y dramaturgos<\/span>. En este<\/span> sentido<\/span>, para<\/span> bien<\/span> y para<\/span> mal, la pel\u00edcula<\/span> es<\/span> pretensiosa<\/span>, a la vez<\/span> que<\/span> tambi\u00e9n<\/span> su<\/span> director, lo cual<\/span> no deber\u00eda<\/span> ser<\/span> tan notorio<\/span> para<\/span> el espectador<\/span>, ya<\/span> que<\/span> distrae<\/span> del punto<\/span> esencial<\/span> en la comunicaci\u00f3n<\/span> cinematogr\u00e1fica<\/span>.<\/p>\n

Los actores<\/span> son toda<\/span> emoci\u00f3n<\/span>, la c\u00e1mara<\/span> es<\/span> todo<\/span> el tiempo<\/span> proposici\u00f3n<\/span>, pero<\/span> sin embargo no hay acci\u00f3n<\/span>. Le\u00ed<\/span> en otras<\/span> cr\u00edticas<\/span> de la pel\u00edcula<\/span> cierta<\/span> comparaci\u00f3n<\/span> del cine de Pere<\/span> Vil\u00e0<\/span> con el de los hermanos<\/span> Darden<\/span>, pero<\/span> a mi entender<\/span> la distancia<\/span> entre<\/span> ambos<\/span> es<\/span> enorme<\/span>. Quiz\u00e1s<\/span> el sentido<\/span> de la trama<\/span> y el malestar<\/span> de los personajes<\/span> pueda<\/span> sugerir<\/span> una<\/span> cercan\u00eda<\/span>, pero<\/span> si<\/span> en los hermanos<\/span> Darden<\/span> sus<\/span> personajes<\/span> viven<\/span> en un constante<\/span> delirio<\/span> de acci\u00f3n<\/span> para<\/span> no caer<\/span> en el vac\u00edo<\/span> deprimente<\/span> de su<\/span> mundo<\/span>, en Pere<\/span> Vil\u00e0<\/span> la inacci\u00f3n<\/span> conduce hacia<\/span> un estado<\/span> de vac\u00edo<\/span> m\u00e1s<\/span> cercano<\/span> al mundo<\/span> cinematogr\u00e1fico<\/span> de Antonioni<\/span>. Y de aquello<\/span> ya<\/span> han<\/span> pasado<\/span> m\u00e1s<\/span> de cincuenta<\/span> a\u00f1os<\/span>. No es<\/span> que<\/span> el arte<\/span> envejezca<\/span>, pero<\/span> la gente<\/span> var\u00eda<\/span> seg\u00fan<\/span> las<\/span> condiciones<\/span> materiales<\/span> de su<\/span> mundo<\/span>.<\/p>\n

De todas<\/span> maneras<\/span> \u201cLa arteria<\/span> invisible\u201d es<\/span> una<\/span> pel\u00edcula<\/span> y un director que<\/span> merecen<\/span> ocupar<\/span> un sitio<\/span> en la constelaci\u00f3n<\/span> visual de este<\/span> pa\u00eds<\/span>, y sobre<\/span> todo<\/span>, de poder<\/span> continuar<\/span> trabajando<\/span>, algo<\/span> que<\/span> parece<\/span> demandar<\/span> a gritos<\/span>.<\/p>\n

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

Hay pel\u00edculas que se ocultan, que muestran solo una parte de s\u00ed misma, que esperan ser desentra\u00f1adas por el espectador a quien exigen una lectura reflexiva sobre su propio tratamiento e historia<\/p>","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[61,4],"tags":[],"class_list":["post-8428","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\n"L'arteria invisible" - 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\/larteria-invisible\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""L'arteria invisible" - 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