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编辑当前文件:/home4/randall/randall_lpdc-db2019.1608255642.sql
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Will certainly share site with my buddies. Rozalin Cord Iorgos\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:13:\"45.142.28.132\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:56:\"http://lapistoladechejov.com/2020/10/20/local-hero-1983/\";}'),(31,10,'akismet_history','a:2:{s:4:\"time\";d:1600319387.8384969234466552734375;s:5:\"event\";s:9:\"check-ham\";}'),(33,11,'akismet_result','false'),(34,11,'akismet_history','a:2:{s:4:\"time\";d:1601308163.9603450298309326171875;s:5:\"event\";s:9:\"check-ham\";}'),(140,38,'akismet_pro_tip','discard'),(141,39,'akismet_result','true'),(142,39,'akismet_history','a:2:{s:4:\"time\";d:1607534338.286405086517333984375;s:5:\"event\";s:10:\"check-spam\";}'),(143,39,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:11:\"erotik izle\";s:20:\"comment_author_email\";s:16:\"rdrr62@yahoo.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:173:\"My relatives all the time say that I am killing my time here at web, however I know I am getting experience all the time by reading such nice content. Moll Cordell Johnstone\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:14:\"45.130.255.175\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(176,48,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:5:\"bahis\";s:20:\"comment_author_email\";s:17:\"sga117@yandex.com\";s:18:\"comment_author_url\";s:25:\"https://www.filmmodu.org/\";s:15:\"comment_content\";s:139:\"It draws the other team to one side of the field while you quickly switch the ball to the other side when they target you. Nanny Wyn Leanna\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:12:\"45.92.247.12\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:56:\"http://lapistoladechejov.com/2020/10/20/local-hero-1983/\";}'),(30,10,'akismet_result','false'),(37,12,'akismet_result','false'),(38,12,'akismet_history','a:2:{s:4:\"time\";d:1604103593.2193748950958251953125;s:5:\"event\";s:9:\"check-ham\";}'),(36,11,'akismet_history','a:3:{s:4:\"time\";d:1601577720.03468608856201171875;s:5:\"event\";s:15:\"status-approved\";s:4:\"user\";s:9:\"Pistolera\";}'),(163,44,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:11:\"erotik izle\";s:20:\"comment_author_email\";s:18:\"sionhaye@gmail.com\";s:18:\"comment_author_url\";s:25:\"https://www.filmmodu.org/\";s:15:\"comment_content\";s:108:\"There is certainly a lot to learn about this topic. I really like all the points you made. Daisi Ezra Shelbi\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:14:\"45.130.255.103\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:56:\"http://lapistoladechejov.com/2020/10/20/local-hero-1983/\";}'),(160,43,'akismet_pro_tip','discard'),(175,48,'akismet_history','a:2:{s:4:\"time\";d:1608242164.65392303466796875;s:5:\"event\";s:10:\"check-spam\";}'),(161,44,'akismet_result','true'),(162,44,'akismet_history','a:2:{s:4:\"time\";d:1607979631.88062191009521484375;s:5:\"event\";s:10:\"check-spam\";}'),(156,42,'akismet_pro_tip','discard'),(157,43,'akismet_result','true'),(158,43,'akismet_history','a:2:{s:4:\"time\";d:1607618114.1599891185760498046875;s:5:\"event\";s:10:\"check-spam\";}'),(152,41,'akismet_pro_tip','discard'),(153,42,'akismet_result','true'),(154,42,'akismet_history','a:2:{s:4:\"time\";d:1607583009.6754291057586669921875;s:5:\"event\";s:10:\"check-spam\";}'),(155,42,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:4:\"720p\";s:20:\"comment_author_email\";s:21:\"oharmon894@yandex.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:99:\"Right here is the perfect blog for everyone who wishes to understand this topic. Amata Consalve Ama\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:13:\"45.130.255.46\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:114:\"http://lapistoladechejov.com/2020/11/05/por-un-cine-vivo-y-urgente-sobre-el-colectivo-artistico-antes-muerto-cine/\";}'),(149,41,'akismet_result','true'),(150,41,'akismet_history','a:2:{s:4:\"time\";d:1607565421.3626968860626220703125;s:5:\"event\";s:10:\"check-spam\";}'),(151,41,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:9:\"720p izle\";s:20:\"comment_author_email\";s:21:\"nataliehaim@yahoo.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:88:\"I just like the helpful information you supply tto your articles. Petra Gottfried Hoover\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:11:\"45.86.15.66\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:53:\"http://lapistoladechejov.com/2020/11/06/variety-1993/\";}'),(148,40,'akismet_pro_tip','discard'),(147,40,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:6:\"erotik\";s:20:\"comment_author_email\";s:19:\"snoopydep@yahoo.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:143:\"Way cool! Some extremely valid points! I appreciate you writing this post and the rest of the site is also really good. Tracie Sheppard Lurlene\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:13:\"45.154.58.127\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(146,40,'akismet_history','a:2:{s:4:\"time\";d:1607545944.1022739410400390625;s:5:\"event\";s:10:\"check-spam\";}'),(170,47,'akismet_result','true'),(171,47,'akismet_history','a:2:{s:4:\"time\";d:1608234549.9494259357452392578125;s:5:\"event\";s:10:\"check-spam\";}'),(144,39,'akismet_pro_tip','discard'),(145,40,'akismet_result','true'),(172,47,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:5:\"porno\";s:20:\"comment_author_email\";s:17:\"morio-oku@msn.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:88:\"You have brought up a very great details, appreciate it for the post. Iona Myron Rodrich\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:14:\"45.136.231.173\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:54:\"http://lapistoladechejov.com/2020/10/07/fat-city-1972/\";}'),(174,48,'akismet_result','true'),(173,47,'akismet_pro_tip','discard'),(165,45,'akismet_history','a:2:{s:4:\"time\";d:1608134802.0809509754180908203125;s:5:\"event\";s:10:\"check-spam\";}'),(166,45,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:8:\"Юлия\";s:20:\"comment_author_email\";s:19:\"almoplage@gmail.com\";s:18:\"comment_author_url\";s:71:\"https://potolki.kr.ua/%d1%84%d0%be%d1%82%d0%be%d0%be%d0%b1%d0%be%d0%b8/\";s:15:\"comment_content\";s:145:\"Я влюбился в Ваши все статьи начиная с первых страниц. Вас ждёт большое будущее!\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:12:\"46.98.213.82\";s:10:\"user_agent\";s:108:\"Mozilla/5.0 (Windows NT 6.3; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/83.0.4103.61 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(164,45,'akismet_result','true'),(120,33,'akismet_pro_tip','discard'),(136,37,'akismet_pro_tip','discard'),(137,38,'akismet_result','true'),(138,38,'akismet_history','a:2:{s:4:\"time\";d:1607521970.6047210693359375;s:5:\"event\";s:10:\"check-spam\";}'),(139,38,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:6:\"erotik\";s:20:\"comment_author_email\";s:28:\"runyourbusinessnow@gmail.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:92:\"Keep all the articles coming. I love reading your posts. All the best. Carlynne Elton Jethro\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:14:\"45.130.255.103\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(118,33,'akismet_history','a:2:{s:4:\"time\";d:1607132569.2935369014739990234375;s:5:\"event\";s:10:\"check-spam\";}'),(119,33,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:4:\"film\";s:20:\"comment_author_email\";s:20:\"robertshih@gmail.com\";s:18:\"comment_author_url\";s:38:\"https://www.filmizlesene.pw/film-izle/\";s:15:\"comment_content\";s:118:\"There is apparently a lot to know about this. I think you made some nice points in features also. Juanita Jorge Lawtun\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:15:\"104.227.100.193\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(117,33,'akismet_result','true'),(132,36,'akismet_pro_tip','discard'),(133,37,'akismet_result','true'),(134,37,'akismet_history','a:2:{s:4:\"time\";d:1607511091.252914905548095703125;s:5:\"event\";s:10:\"check-spam\";}'),(135,37,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:10:\"sikis izle\";s:20:\"comment_author_email\";s:17:\"sosweet@yahoo.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:109:\"There is certainly a lot to find out about this issue. I love all the points you made. Elysia Hamel Margarita\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:12:\"45.137.60.67\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(128,35,'akismet_pro_tip','discard'),(129,36,'akismet_result','true'),(130,36,'akismet_history','a:2:{s:4:\"time\";d:1607502225.124248981475830078125;s:5:\"event\";s:10:\"check-spam\";}'),(131,36,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:16:\"erotik film izle\";s:20:\"comment_author_email\";s:18:\"randaball@yahoo.ca\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:141:\"Since the admin of this web site is working, no hesitation very quickly it will be famous, due to its quality contents. Aurora Hasheem Solana\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:10:\"193.8.56.5\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(125,35,'akismet_result','true'),(126,35,'akismet_history','a:2:{s:4:\"time\";d:1607496573.14735507965087890625;s:5:\"event\";s:10:\"check-spam\";}'),(127,35,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:5:\"porno\";s:20:\"comment_author_email\";s:26:\"rosacedeno90_639@gmail.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:125:\"Awesome! Its truly remarkable post, I have got much clear idea on the topic of from this piece of writing. Susi Goddard Bunow\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:13:\"185.95.157.10\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(124,34,'akismet_pro_tip','discard'),(122,34,'akismet_history','a:2:{s:4:\"time\";d:1607479218.8010959625244140625;s:5:\"event\";s:10:\"check-spam\";}'),(123,34,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:16:\"erotik film izle\";s:20:\"comment_author_email\";s:24:\"sexaything2001@gmail.com\";s:18:\"comment_author_url\";s:23:\"https://filmkovasi.org/\";s:15:\"comment_content\";s:111:\"I am regular reader, how are you everybody? This article posted at this web page is truly nice. Milzie Kev Synn\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:14:\"45.130.255.241\";s:10:\"user_agent\";s:115:\"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:71:\"http://lapistoladechejov.com/2020/11/09/la-angustia-corre-el-alma-1974/\";}'),(121,34,'akismet_result','true'),(168,46,'akismet_history','a:2:{s:4:\"time\";d:1608190277.0919110774993896484375;s:5:\"event\";s:10:\"check-spam\";}'),(169,46,'akismet_as_submitted','a:13:{s:14:\"comment_author\";s:14:\"Виталий\";s:20:\"comment_author_email\";s:19:\"almoplage@gmail.com\";s:18:\"comment_author_url\";s:55:\"https://dveriokna.dp.ua/%d0%be%d0%ba%d0%bd%d0%b0-steko/\";s:15:\"comment_content\";s:151:\"Как ни крутись, но здесь каждый раз самая пре самая актуальная исходная информация\";s:12:\"comment_type\";s:0:\"\";s:7:\"user_ID\";i:0;s:7:\"user_id\";i:0;s:7:\"user_ip\";s:12:\"46.98.213.82\";s:10:\"user_agent\";s:108:\"Mozilla/5.0 (Windows NT 6.3; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/83.0.4103.61 Safari/537.36\";s:4:\"blog\";s:28:\"http://lapistoladechejov.com\";s:9:\"blog_lang\";s:5:\"es_ES\";s:12:\"blog_charset\";s:5:\"UTF-8\";s:9:\"permalink\";s:114:\"http://lapistoladechejov.com/2020/11/05/por-un-cine-vivo-y-urgente-sobre-el-colectivo-artistico-antes-muerto-cine/\";}'),(167,46,'akismet_result','true'),(177,48,'akismet_pro_tip','discard'); /*!40000 ALTER TABLE `wp_lpdc_commentmeta` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `wp_lpdc_comments` -- DROP TABLE IF EXISTS `wp_lpdc_comments`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `wp_lpdc_comments` ( `comment_ID` bigint(20) unsigned NOT NULL AUTO_INCREMENT, `comment_post_ID` bigint(20) unsigned NOT NULL DEFAULT '0', `comment_author` tinytext COLLATE utf8mb4_unicode_520_ci NOT NULL, `comment_author_email` varchar(100) COLLATE utf8mb4_unicode_520_ci NOT NULL DEFAULT '', `comment_author_url` varchar(200) COLLATE utf8mb4_unicode_520_ci NOT NULL DEFAULT '', `comment_author_IP` varchar(100) COLLATE utf8mb4_unicode_520_ci NOT NULL DEFAULT '', `comment_date` datetime NOT NULL DEFAULT '0000-00-00 00:00:00', `comment_date_gmt` datetime NOT NULL DEFAULT '0000-00-00 00:00:00', `comment_content` text COLLATE utf8mb4_unicode_520_ci NOT NULL, `comment_karma` int(11) NOT NULL DEFAULT '0', `comment_approved` varchar(20) COLLATE utf8mb4_unicode_520_ci NOT NULL DEFAULT '1', `comment_agent` varchar(255) COLLATE utf8mb4_unicode_520_ci NOT NULL DEFAULT '', `comment_type` varchar(20) COLLATE utf8mb4_unicode_520_ci NOT NULL DEFAULT '', `comment_parent` bigint(20) unsigned NOT NULL DEFAULT '0', `user_id` bigint(20) unsigned NOT NULL DEFAULT '0', PRIMARY KEY (`comment_ID`), KEY `comment_post_ID` (`comment_post_ID`), KEY `comment_approved_date_gmt` (`comment_approved`,`comment_date_gmt`), KEY `comment_date_gmt` (`comment_date_gmt`), KEY `comment_parent` (`comment_parent`), KEY `comment_author_email` (`comment_author_email`(10)) ) ENGINE=MyISAM AUTO_INCREMENT=49 DEFAULT CHARSET=utf8mb4 COLLATE=utf8mb4_unicode_520_ci; /*!40101 SET character_set_client = @saved_cs_client */; -- -- Dumping data for table `wp_lpdc_comments` -- LOCK TABLES `wp_lpdc_comments` WRITE; /*!40000 ALTER TABLE `wp_lpdc_comments` DISABLE KEYS */; INSERT INTO `wp_lpdc_comments` VALUES (44,1360,'erotik izle','sionhaye@gmail.com','https://www.filmmodu.org/','45.130.255.103','2020-12-14 18:00:31','2020-12-14 21:00:31','There is certainly a lot to learn about this topic. I really like all the points you made. Daisi Ezra Shelbi',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(43,1360,'john wick','piccolochick@gmail.com','https://www.filmmodu.org/','45.142.28.132','2020-12-10 13:35:14','2020-12-10 16:35:14','Many thanks very helpful. Will certainly share site with my buddies. Rozalin Cord Iorgos',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(10,1334,'Денис','antinegativnayab@gmail.com','https://dveri-krivoj-rog.kr.ua/','46.98.212.235','2020-09-17 01:09:47','2020-09-17 05:09:47','\"Как басня, так и жизнь оценивается не за продолжительность, но за содержание\", заявлял Сенека. Лично я привязался на Ваши тексты за необходимое, для современных людей, содержимое.',0,'0','Mozilla/5.0 (Windows NT 6.1) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/68.0.3440.106 Safari/537.36 Kinza/4.9.1','',0,0),(11,1298,'Cande','candecarrenopinero@gmail.com','','190.247.211.173','2020-09-28 11:49:23','2020-09-28 15:49:23','Lúcida mirada de una gran película! Vuelvoa ella para reconstruir el film de Quiros.',0,'1','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/85.0.4183.121 Safari/537.36','',0,0),(12,1364,'cabinet-mosenergosbyt.ru','Inard@gmail.com','https://cabinet-mosenergosbyt.ru/','217.107.106.206','2020-10-30 21:19:53','2020-10-31 00:19:53','El arma de Chejov es un principio dramatico que postula que cada elemento en la narracion debe ser necesario e irremplazable, o de lo contrario debe ser eliminado. Elimina todo lo que no tenga relevancia en la historia. Si dijiste en el primer capitulo que habia un rifle colgado en la pared, en el segundo o tercero este debe ser descolgado inevitablemente. Si no va a ser disparado, no deberia haber sido puesto ahi.',0,'0','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/66.0.3359.170 Safari/537.36 OPR/53.0.2907.99','',0,0),(42,1368,'720p','oharmon894@yandex.com','https://filmkovasi.org/','45.130.255.46','2020-12-10 03:50:09','2020-12-10 06:50:09','Right here is the perfect blog for everyone who wishes to understand this topic. Amata Consalve Ama',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(41,1371,'720p izle','nataliehaim@yahoo.com','https://filmkovasi.org/','45.86.15.66','2020-12-09 22:57:01','2020-12-10 01:57:01','I just like the helpful information you supply tto your articles. Petra Gottfried Hoover',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(40,1374,'erotik','snoopydep@yahoo.com','https://filmkovasi.org/','45.154.58.127','2020-12-09 17:32:24','2020-12-09 20:32:24','Way cool! Some extremely valid points! I appreciate you writing this post and the rest of the site is also really good. Tracie Sheppard Lurlene',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(47,1346,'porno','morio-oku@msn.com','https://filmkovasi.org/','45.136.231.173','2020-12-17 16:49:09','2020-12-17 19:49:09','You have brought up a very great details, appreciate it for the post. Iona Myron Rodrich',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(45,1374,'Юлия','almoplage@gmail.com','https://potolki.kr.ua/%d1%84%d0%be%d1%82%d0%be%d0%be%d0%b1%d0%be%d0%b8/','46.98.213.82','2020-12-16 13:06:41','2020-12-16 16:06:41','Я влюбился в Ваши все статьи начиная с первых страниц. Вас ждёт большое будущее!',0,'spam','Mozilla/5.0 (Windows NT 6.3; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/83.0.4103.61 Safari/537.36','',0,0),(48,1360,'bahis','sga117@yandex.com','https://www.filmmodu.org/','45.92.247.12','2020-12-17 18:56:04','2020-12-17 21:56:04','It draws the other team to one side of the field while you quickly switch the ball to the other side when they target you. Nanny Wyn Leanna',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(39,1374,'erotik izle','rdrr62@yahoo.com','https://filmkovasi.org/','45.130.255.175','2020-12-09 14:18:58','2020-12-09 17:18:58','My relatives all the time say that I am killing my time here at web, however I know I am getting experience all the time by reading such nice content. Moll Cordell Johnstone',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(38,1374,'erotik','runyourbusinessnow@gmail.com','https://filmkovasi.org/','45.130.255.103','2020-12-09 10:52:50','2020-12-09 13:52:50','Keep all the articles coming. I love reading your posts. All the best. Carlynne Elton Jethro',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(33,1374,'film','robertshih@gmail.com','https://www.filmizlesene.pw/film-izle/','104.227.100.193','2020-12-04 22:42:49','2020-12-05 01:42:49','There is apparently a lot to know about this. I think you made some nice points in features also. Juanita Jorge Lawtun',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(37,1374,'sikis izle','sosweet@yahoo.com','https://filmkovasi.org/','45.137.60.67','2020-12-09 07:51:31','2020-12-09 10:51:31','There is certainly a lot to find out about this issue. I love all the points you made. Elysia Hamel Margarita',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(36,1374,'erotik film izle','randaball@yahoo.ca','https://filmkovasi.org/','193.8.56.5','2020-12-09 05:23:45','2020-12-09 08:23:45','Since the admin of this web site is working, no hesitation very quickly it will be famous, due to its quality contents. Aurora Hasheem Solana',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(35,1374,'porno','rosacedeno90_639@gmail.com','https://filmkovasi.org/','185.95.157.10','2020-12-09 03:49:32','2020-12-09 06:49:32','Awesome! Its truly remarkable post, I have got much clear idea on the topic of from this piece of writing. Susi Goddard Bunow',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(34,1374,'erotik film izle','sexaything2001@gmail.com','https://filmkovasi.org/','45.130.255.241','2020-12-08 23:00:18','2020-12-09 02:00:18','I am regular reader, how are you everybody? This article posted at this web page is truly nice. Milzie Kev Synn',0,'spam','Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/86.0.4240.193 Safari/537.36','',0,0),(46,1368,'Виталий','almoplage@gmail.com','https://dveriokna.dp.ua/%d0%be%d0%ba%d0%bd%d0%b0-steko/','46.98.213.82','2020-12-17 04:31:17','2020-12-17 07:31:17','Как ни крутись, но здесь каждый раз самая пре самая актуальная исходная информация',0,'spam','Mozilla/5.0 (Windows NT 6.3; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/83.0.4103.61 Safari/537.36','',0,0); /*!40000 ALTER TABLE `wp_lpdc_comments` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `wp_lpdc_links` -- DROP TABLE IF EXISTS `wp_lpdc_links`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `wp_lpdc_links` ( `link_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT, `link_url` varchar(255) COLLATE utf8mb4_unicode_520_ci NOT NULL DEFAULT '', `link_name` varchar(255) COLLATE 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Por citar un ejemplo, ya sería obsoleto utilizar el término “filman” de fílmico, cuando en realidad se registran como datos o se “graban”, así como sería ingenuo pensar en películas exentas de algún tipo de retoque digital. <strong><em>Miami Vice</em></strong> es una película que se repara en lo confuso que podría ser esta mutación a la par que es víctima de su propio lenguaje. En la fotografía, lo digital pixela una textura cuadriculada de bits y pantallas mientras recibe y asume con torpeza las posibilidades de la nueva era, sea por las formas de las cámaras o por el modo de producción.\n\nLa primera imagen de <strong><em>Miami Vice</em></strong> es la silueta de una mujer bailando frente a una pantalla luminosa. Una imagen sobre una pantalla, o una imagen sobre otra imagen. El sudor de su piel se distingue claramente del pelo, de un tono más oscuro. Atrás suyo, destellos de rojo y azul e infinitas variedades de rosa acompañan el trance. Tanto en el punto más blanco como en el punto más oscuro, es posible percibir diferencias tonales. El rango dinámico es peculiar. Desconcierta. Pareciera que por momentos hay mucha luz para una escena nocturna o muchas sombras para un día soleado. En la primera misión, los colegas de Sonny Crockett y Ricardo Tubbs instalan un dispositivo que graba lo que ocurre en una habitación. El objetivo es incierto, pero los datos transmitidos a la pantalla de un celular justifican la operación, o al menos podrían proveer las pruebas necesarias para arrestar a un delincuente.\n\nPero esta misión no llega a su fin. Sonny recibe una llamada de uno de sus informantes y tras una intervención fallida del FBI, la identidad de los agentes encubiertos se encuentra comprometida. Como es de esperar, en este altercado y sus consecuencias, hay disparos y muertes. Una cámara que se posiciona en un lugar incómodo para presenciar el desmembramiento de un personaje al que conocimos dos segundo antes. Gracias al ralentizado, con sumo detalle observamos cómo el brazo del chofer se desprende y vuela hacia nosotros. Muybridge estaría orgulloso, ¿o no? En el morbo, una estilización de la imagen en movimiento como si se buscara cautivar con el efecto aletargado de la mutilación.\n\n<img class=\"aligncenter size-large wp-image-1313\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/08/00-1024x422.png\" alt=\"\" width=\"1024\" height=\"422\" />\n\n<strong><em>Miami Vice</em></strong> viaja a través del mundo para ilustrar el alcance de una red de narcotráfico que logra meter a los Estados Unidos una suma importante de droga. Desde Miami a Colombia, pasando por Paraguay y Ginebra, y una noche en Cuba, los traslados disuelven estos espacios con planos abreviados tan imprecisos que podrían haber sucedido en cualquier lugar. En este sentido, <strong><em>Miami Vice </em></strong>remite a preconceptos y los da por sentados. Colombia es sinónimo de Cartel, donde se cultiva la coca; Ginebra es la banca suiza, donde las ganancias se depositan y se protegen. Explicar lo que el espectador ya lo tiene incorporado en su imaginario sería redundante.\n\nUna ciudad es la excepción de esta norma: Ciudad del Este, una zona de libre comercio y de incesante flujo de mercadería. Aquí, uno sortea obstáculos entre motocicletas y bolsos, caminando sobre cajas desechadas que se van apilando conforme pasa el día. En la película, en pleno centro de la ciudad fronteriza, un personaje cruza la calle, ingresa a una galería comercial y entrega un dispositivo de almacenamiento digital a otro personaje. La secuencia es corta, y en la narrativa casi desechable, pues nada más corrobora que los detectives fueron investigados por el bando criminal. Pero <strong><em>Miami Vice </em></strong>destina una cantidad exagerada de planos para ilustrar la extravagancia del lugar. Cuando Ginebra es un cartel situado detrás del personaje, Ciudad del Este es una muchedumbre que ocupa la calle y se mueve en desorden, un salpicado de aire acondicionados injertados por la pared, y letreros atiborrados uno sobre el otro.\n\n<img class=\"aligncenter size-large wp-image-1317\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/08/04-1024x423.png\" alt=\"\" width=\"1024\" height=\"423\" />\n\nQuizás era necesario explicar la dinámica de este lugar extravagante, pero en la acumulación de material (mérito del cine digital), y en el modo en que se enlazan, éstas se reducen a imágenes robadas que se insertan en la narrativa como postales exóticas de paisajes tercermundistas exportadas para el ojo norteamericano. Ciudad del Este aparece una vez más a través de una pantalla situada dentro del automóvil de Jesús Montoya, el tirano detrás de la mega estructura de narcotráfico. En estos planos es posible observar los ojos curiosos de los locales que miran a cámara, y en otro plano a un sector vulnerable que hurga entre los desechos. Los locales contemplan cómo otros curiosean, miran cómo se les mira. “Es bueno para ellos ver una superproducción cinematográfica”, dijo Michael Mann en una entrevista posterior al rodaje en referencia al equipo local contratado. ¿Fue satisfactorio para Mann afanar estas imágenes para ver la pobreza?\n\n<img class=\"aligncenter size-large wp-image-1319\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/08/06-1024x423.png\" alt=\"\" width=\"1024\" height=\"423\" />\n\nEn <strong><em>Miami Vice </em></strong>las imágenes digitales son más eficientes que un radar. Los sensores pueden confundirse si los objetos están muy cerca, pero esto no ocurre al observarlos con una cámara. Estas imágenes portadas en maletines que se abren y cierran a velocidad de un teléfono plegable, se presentan como puras, libres de modificaciones. Y son las imágenes las que disparan la acción. Es la imagen de dos lanchas la que despierta curiosidad en los agentes, y más adelante, es una imagen la que quiebra Montoya. Él puede permitir que su esposa acorde precios con los nuevos transportadores, y que se acueste con uno de ellos por el bien del negocio, pero cuando observa una grabación de Isabelle bailando con Sonny traga saliva con esfuerzo. La vuelta que dan en la pista de baile describe un acercamiento tan suave que pareciera fundirse en un beso, con caricias y miradas sostenidas. ¿Tendrían estas imágenes el mismo efecto si no estuvieran en cámara lenta?\n\nLos personajes de <strong><em>Miami Vice </em></strong>son sumisos frente a las imágenes digitales así como la película misma está plagada de un encanto hacia lo nuevo, como si estuviera descubriendo recursos sin detenerse a reflexionar sobre los mismos. Y aquí esta sumisión conduce a la decadencia. Los dos momentos opuestos en contenido son víctimas de una manipulación tan básica como efectiva. El ralentizado enfatiza la violencia de la masacre del mismo modo en que subraya lo romántico de un beso. Si la cámara lenta encuentra el romance en el beso, ¿qué descubre en el brazo triturado?','Miami Vice (2006)','','inherit','closed','closed','','1312-revision-v1','','','2020-08-26 16:35:11','2020-08-26 20:35:11','',1312,'http://lapistoladechejov.com/2020/08/26/1312-revision-v1/',0,'revision','',0),(1317,2,'2020-08-26 16:29:09','2020-08-26 20:29:09','','04','','inherit','open','closed','','04','','','2020-08-26 16:29:09','2020-08-26 20:29:09','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/04.png',0,'attachment','image/png',0),(1318,2,'2020-08-26 16:29:21','2020-08-26 20:29:21','','05','','inherit','open','closed','','05','','','2020-08-26 16:29:21','2020-08-26 20:29:21','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/05.png',0,'attachment','image/png',0),(1319,2,'2020-08-26 16:29:31','2020-08-26 20:29:31','','06','','inherit','open','closed','','06','','','2020-08-26 16:29:31','2020-08-26 20:29:31','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/06.png',0,'attachment','image/png',0),(1320,2,'2020-08-26 16:33:27','2020-08-26 20:33:27','','Captura de pantalla 2020-08-26 a las 4.32.36 p.m.','','inherit','open','closed','','captura-de-pantalla-2020-08-26-a-las-4-32-36-p-m','','','2020-08-26 16:33:27','2020-08-26 20:33:27','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/Captura-de-pantalla-2020-08-26-a-las-4.32.36-p.m..png',0,'attachment','image/png',0),(5,1,'2018-12-02 02:18:39','2018-12-02 02:18:39','<label> Nombre (requerido)\r\n [text* your-name] </label>\r\n\r\n<label> Email (requerido)\r\n [email* your-email] </label>\r\n\r\n<label> Asunto\r\n [text your-subject] </label>\r\n\r\n<label> Mensaje\r\n [textarea your-message] </label>\r\n\r\n[submit \"Send\"]\n1\n[your-subject]\n[your-name] <[your-email]>\nalexvp510@gmail.com\n[your-message]\n\n\n\n\n\n\n\n\n\n\n\n\n\nThank you for your message. It has been sent.\nThere was an error trying to send your message. Please try again later.\nOne or more fields have an error. Please check and try again.\nThere was an error trying to send your message. Please try again later.\nYou must accept the terms and conditions before sending your message.\nThe field is required.\nThe field is too long.\nThe field is too short.\nEl formato de fecha es incorrecto.\nLa fecha es anterior a la más temprana permitida.\nLa fecha es posterior a la más tardía permitida.\nHubo un error desconocido subiendo el archivo.\nNo tienes permisos para subir archivos de este tipo.\nEl archivo es demasiado grande.\nSe ha producido un error subiendo la imagen\nEl formato de número no es válido.\nEl número es menor que el mínimo permitido.\nEl número es mayor que el máximo permitido.\nLa respuesta al cuestionario no es correcta.\nLa dirección de correo electrónico que has introducido no es válida.\nLa URL no es válida.\nEl número de teléfono no es válido.','Contact form 1','','publish','closed','closed','','contact-form-1-2','','','2019-12-28 16:36:22','2019-12-28 19:36:22','',0,'https://codesupply.co/?post_type=wpcf7_contact_form&p=5',0,'wpcf7_contact_form','',0),(1079,1,'2019-12-28 16:37:33','2019-12-28 19:37:33','<!-- wp:heading -->\n<h2>Servicios ofrecidos</h2>\n<!-- /wp:heading -->\n\n<h3>Escritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-965\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-01-150x150.png\" alt=\"\" width=\"150\" height=\"150\" />Escritura de guiones de cortometrajes, mediometrajes y largometrajes de ficción a ser producidos por otro director/a. Desarrollo y escritura de contenidos diversos como series web, guiones publicitarios o spots televisivos.</p>\n<h3> </h3>\n<h3>Coescritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-966\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-03-150x150.png\" alt=\"Servicio de coescritura\" width=\"150\" height=\"150\" />Cooescritura en conjunto con otro director/a o guionista. Cooescritura en base a una idea original o historia original de otro guionista, director/a o productor/a. Escritura de guión en base a una sinopsis ya previamente definida por otro director/a, productor/a o guionista. Asesoría de guiones de cortometrajes, mediometrajes y largometrajes de ficción en etapas de desarrollo, preproducción o producción. Consultoría sobre materiales ya filmados en etapas de post producción.</p>\n<h3>Asesoría de proyectos</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-967\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-04-150x150.png\" alt=\"Servicio de asesoria\" width=\"150\" height=\"150\" />Asesoría de proyectos de escritura desde la idea al guión final. Servicio de Script Doctor con sesiones de lectura y análisis escena por escena.</p>\n<p> </p>\n<p> </p>\n<p> </p>\n<p>[contact-form-7 id=\"5\" title=\"Contact Us\"]</p>','Guiones','','inherit','closed','closed','','811-revision-v1','','','2019-12-28 16:37:33','2019-12-28 19:37:33','',811,'http://lapistoladechejov.com/2019/12/28/811-revision-v1/',0,'revision','',0),(9,1,'2019-12-24 18:17:51','2019-12-24 21:17:51','','One Click Demo Import - log_file_2019-12-24__21-17-51','','inherit','open','closed','','one-click-demo-import-log_file_2019-12-24__21-17-51','','','2019-12-24 18:17:51','2019-12-24 21:17:51','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/log_file_2019-12-24__21-17-51.txt',0,'attachment','text/plain',0),(33,1,'2018-07-19 11:32:12','2018-07-19 11:32:12','[row cols_nr=\"2\"][col size=\"4\"]\n<h3>Contact Form 7 Integration</h3>\n[/col][col size=\"8\"]\n\nYou may easily setup a contact form with the <a href=\"https://wordpress.org/plugins/contact-form-7/\">Contact Form 7</a> integrated support.\n\nFor more information please refer to the <a href=\"https://contactform7.com/getting-started-with-contact-form-7/\">Getting Started</a> tutorial, that explains how to display a form on your page, and how to customize your forms and mail.\n\n[/col][/row]\n\n \n\n<hr />\n\n[row cols_nr=\"2\"][col size=\"4\"]\n<h3>Get in Touch ?</h3>\n[/col][col size=\"8\"]\n\n[contact-form-7 id=\"5\" title=\"Contact Us\"]\n\n[/col][/row]','Contact Form','','publish','closed','closed','','contact-form','','','2018-07-19 11:32:12','2018-07-19 11:32:12','',0,'https://codesupply.co/?page_id=33',0,'page','',0),(1377,2,'2020-11-11 12:05:48','2020-11-11 15:05:48','<h2>La angustia de los otros.</h2>\n<span style=\"font-weight: 400;\">Emmi es una viuda sexagenaria que trabaja de limpiadora, y El Hedi ben Salem, más conocido como Ali, un marroquí de unos treinta años que trabaja en un taller mecánico. Ellos se conocen en un café de obreros inmigrantes. Ella, atraída por la música, se refugia de la lluvia; él, ahogado en un vaso de cerveza, accede a cualquier reto y baila con ella. Ambos personajes, afligidos desde el vamos, forjarán una peculiar relación incomprendida por el mundo en el que habitan. </span>\n\n<span style=\"font-weight: 400;\">Rainer Werner Fassbinder desglosa la angustia en cada elemento de la puesta en escena, y como resultado, sofoca con el entorno que describe. En la fotografía, tanto Emmi como Ali, se muestran agobiados por los lugares que transitan. La aparición de Emmi en el bar adopta un punto de vista extraño, donde ella se encuentra al costado del cuadro, comprimida por una hilera de sillas vacías, y enmarcada por la puerta que la había conducido a ese entorno extraño. Ella no pertenece ahí, lo sabe, pero aún así pide una coca cola esperando encajar o al menos pasar desapercibida. Durante el primer baile juntos, la cámara se posiciona detrás de una silla. Observa desde lejos y con timidez a la pareja, privada de la cercanía del mismo gesto. Puertas, ventanas, rejas y barandas delimitan los espacios interiores y exteriores, y en </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">se erigen como barreras que obligan a sus protagonistas a vivir su amor bajo confinamiento o aislamiento.</span>\n\n<span style=\"font-weight: 400;\">La distancia que adopta la cámara nunca se subsana del todo. Cada tanto, pareciera recordar las diferencias entre ambos, y los contempla desde un plano tan abierto que apenas permite distinguir sus gestos. A la vez, al aproximarse con lentos movimientos hacia adelante, regala a los amantes lo que otros no pueden: la posibilidad de estar juntos y el permiso de mirar desde más cerca. </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">se retira de la crisis, y se aproxima al dolor, y cada tanto presencia el romance desde el punto de vista de un otro distante, el que critica con la mirada y que observa velado por el cuadriculado de la ventanilla. Cuando Emmi invita a Ali a tomar una copa de coñac, la cámara se desplaza hacia atrás en un gesto distante incapaz de percibir las reacciones asertivas de los recién conocidos. Por el contrario, en la misma escena, deja abarcar en la imagen la hostilidad de las vecinas que se cuestionan con aversión qué hace ella con un hombre como él. </span>\n\n<span style=\"font-weight: 400;\">Estos desplazamientos sutiles, que se repiten como anáforas visuales, genera una tensión tan puntual que sofoca; nunca se acerca del todo, pero tampoco se aleja tanto como para ignorar las voces envidiosas que se entrometen en la relación. En </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">son los otros los que están angustiados, y a la vez esta angustia externa repercute en la pareja como un virus infeccioso que los carcome lentamente. No en vano el momento de idilio de la pareja, unas vacaciones fuera del país, en un lugar lejano, pero no identificado, ocurre entre un fundido y el otro, en una elipsis incierta porque en el departamento donde viven los problemas no desaparecen, solo se vuelven otros. </span>\n\n<span style=\"font-weight: 400;\">La primera parte de la película se enfoca en ella, en cómo tolera apenas el maltrato de los demás mientras que la segunda parte observa los andares de Ali, la imposibilidad de corresponder sus deseos con los de Emmi, y los esfuerzos que realiza con resignación para la obtener la aprobación de un país que siempre le dio la espalda. A pesar de este quiebre narrativo, existen similitudes que van más allá del punto de vista adoptado. Tanto Emmi como Ali se refieren a ellos mismos en tercera persona ante la incomodidad de aclarar cómo se sienten o explicar el por qué de su actuar. El amor que brota entre ellos es más sencillo que cualquier conjetura venenosa; no se trata de dinero ni de conveniencia sino es tan simple como dos personas que se acompañan en la soledad. Los personajes que rodean a Emmi, tanto en su ambiente laboral como familiar, se sienten ofendidos por el matrimonio. No se sabe si les disgusta más la diferencia de edad, o el hecho de que Ali sea un inmigrante que apenas habla alemán, o si el motivo es una mezcla de ambas cosas, pero lo cierto es que ninguna persona con la que se cruzan a lo largo de la película puede evitar mirarlos fijamente. La mirada que reciben es acusadora, inmóvil e inmutable, como si estuvieran hipnotizados por algo tan horrendo que detiene el tiempo. En este instante, los otros ni se atreven a parpadear, sus actuaciones son rígidas e inalterables incluso frente al griterío o el llanto desconsolado de Emmi. El único que ofrece una reacción desmesurada es uno de los hijos de ella, quien transforma la ansiedad en odio y destroza el televisor sin decir nada. </span>\n\n<span style=\"font-weight: 400;\">La angustia, palabra que proviene del alemán </span><i><span style=\"font-weight: 400;\">angst</span></i><span style=\"font-weight: 400;\">, se refiere a una reacción emocional hacia lo desconocido. Hacia el final de la película, el cuerpo se ha quebrado, y la felicidad se ha esfumado. Los días de café y brandy fueron un sueño. A través del reflejo de un espejo de un hospital, Emmi se acerca a Ali después de una operación de úlcera perforada, fruto del estrés y la bebida, y la bebida por el estrés. Para ellos, el futuro es incierto, no por la diferencia, sino porque la angustia a la larga agota el alma.  </span>','La angustia corroe el alma (1974)','','inherit','closed','closed','','1374-revision-v1','','','2020-11-11 12:05:48','2020-11-11 15:05:48','',1374,'http://lapistoladechejov.com/2020/11/11/1374-revision-v1/',0,'revision','',0),(168,1,'2018-06-22 23:23:36','2018-06-22 23:23:36','','demo-image-00001','Sit dis sed ante','inherit','open','closed','','demo-image-00001','','','2018-06-22 23:23:36','2018-06-22 23:23:36','',0,'https://cloud.codesupply.co/demo-content/demo-image-00001.jpg',0,'attachment','image/jpeg',0),(169,1,'2018-12-22 21:48:00','2018-12-22 21:48:00','','demo-image-00002','Magnis nam penatibus','inherit','open','closed','','demo-image-00002','','','2018-12-22 21:48:00','2018-12-22 21:48:00','',0,'https://cloud.codesupply.co/demo-content/demo-image-00002.jpg',0,'attachment','image/jpeg',0),(170,1,'2018-06-30 13:10:41','2018-06-30 13:10:41','','demo-image-00003','Pede nascetur eros','inherit','open','closed','','demo-image-00003','','','2018-06-30 13:10:41','2018-06-30 13:10:41','',0,'https://cloud.codesupply.co/demo-content/demo-image-00003.jpg',0,'attachment','image/jpeg',0),(171,1,'2018-06-29 22:19:23','2018-06-29 22:19:23','','demo-image-00004','Faucibus etiam libero','inherit','open','closed','','demo-image-00004','','','2018-06-29 22:19:23','2018-06-29 22:19:23','',0,'https://cloud.codesupply.co/demo-content/demo-image-00004.jpg',0,'attachment','image/jpeg',0),(172,1,'2018-12-25 16:06:18','2018-12-25 16:06:18','','demo-image-00005','Pellentesque venenatis ac','inherit','open','closed','','demo-image-00005','','','2018-12-25 16:06:18','2018-12-25 16:06:18','',0,'https://cloud.codesupply.co/demo-content/demo-image-00005.jpg',0,'attachment','image/jpeg',0),(173,1,'2018-04-16 15:30:11','2018-04-16 15:30:11','','demo-image-00006','Viverra faucibus sem','inherit','open','closed','','demo-image-00006','','','2018-04-16 15:30:11','2018-04-16 15:30:11','',0,'https://cloud.codesupply.co/demo-content/demo-image-00006.jpg',0,'attachment','image/jpeg',0),(1075,1,'2019-12-28 16:18:40','2019-12-28 19:18:40',' ','','','publish','closed','closed','','1075','','','2020-05-29 16:39:03','2020-05-29 20:39:03','',0,'http://lapistoladechejov.com/?p=1075',1,'nav_menu_item','',0),(1227,2,'2020-06-01 14:05:35','2020-06-01 18:05:35','<i><span style=\"font-weight: 400;\">The Bite. Pedro Neves Marques. Portugal. 2019</span></i>\n\n<span style=\"font-weight: 400;\">La textura hexagonal de los mosquiteros impide la salida de los mosquitos de un frasco en un laboratorio, pero también funciona al revés, pues resguarda a sus personajes que se encuentran ante el asedio de una epidemia. Pero el peligro palpable no deviene precisamente de la enfermedad mortífera transmitida por el vector. </span><b><i>A Mordida </i></b><span style=\"font-weight: 400;\">relata una guerra silenciosa, invisible, que ocurre bajo el velo de la supuesta protección pero que esconde el exterminio absoluto de una especie que no hace más que intentar atravesar paredes. </span>\n\n<span style=\"font-weight: 400;\">Un montaje que alterna escenas en un laboratorio donde experimentan con la esterilización del mosquito macho con el confinamiento rutinario de una pareja no binaria y poliamorosa, establece una analogía entre lo que sucede a los mosquitos enfrascados y a las personas desterradas. Si se logra introducir un gen nuevo y esparcirlo en la población, se logrará extinguir a una especie completa, narra un científico. Es inevitable pensar en los alcances que podría tener la intervención del hombre en la naturaleza, y del peligro de poner dichas estrategias en función a las políticas fascistas del gobierno de turno. No en vano, una banda sonora tétrica de siniestros bajos y agudos estridentes acompaña el relato; el horror surge de miedos concretos. </span>\n\n<span style=\"font-weight: 400;\">En la fotografía, el granulado del analógico custodia la imagen, como si todo fuera visto a través de una tela red. A su vez, el verde de la naturaleza y de la habitación entinta la imagen en un acto de resistencia frente al blanco esterilizado y homogéneo del laboratorio, mientras que el uso constante del </span><i><span style=\"font-weight: 400;\">zoom in</span></i><span style=\"font-weight: 400;\"> ya sea en el medio del bosque o sobre el rostro de un personaje busca denunciar lo que no se ve a primera vista. ¿Qué acecha entre los troncos de un árbol? ¿Quién vigila a este investigador genocida en este combate indefinido?</span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></i>','A mordida (2019)','','publish','open','open','','a-mordida-2019','','','2020-06-01 14:05:40','2020-06-01 18:05:40','',0,'http://lapistoladechejov.com/?p=1227',0,'post','',0),(1228,2,'2020-06-01 14:03:33','2020-06-01 18:03:33','A mordida','a mordida 2','','inherit','open','closed','','a-mordida-2','','','2020-06-01 14:03:48','2020-06-01 18:03:48','',1227,'http://lapistoladechejov.com/wp-content/uploads/2020/06/a-mordida-2.jpg',0,'attachment','image/jpeg',0),(1217,2,'2020-05-31 13:40:03','2020-05-31 17:40:03','Im too busy','im too busy','','inherit','open','closed','','im-too-busy','','','2020-05-31 13:40:17','2020-05-31 17:40:17','',1215,'http://lapistoladechejov.com/wp-content/uploads/2020/05/im-too-busy.jpg',0,'attachment','image/jpeg',0),(1218,2,'2020-05-31 13:40:20','2020-05-31 17:40:20','<i><span style=\"font-weight: 400;\">Carmen Aumedes Mier. China/España. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Ocean escribe una carta a su hijo quien al casarse partió de la casa de un día para otro. Esta carta lejos de adecuarse al formato lápiz y papel, adopta la forma de un relato visual que narra los pormenores del proceso de conformación con su ausencia, como el diario de una vida que continuó sin que él lo sepa, un mensaje en una botella arrojado al infinito mar. </span>\n\n<b><i>I’m too busy</i></b> <span style=\"font-weight: 400;\">es un álbum de fotografías narrado por una voz en off que describe en formato de una oración similar al pie de una foto aquello que se observa a primera vista y aquello que no. En este sentido, ella señala lo obvio, aquí estoy yo, a lo que añade una impresión disimulada sobre su trabajo, vida social o matrimonio. En la conjunción de ambos elementos, se evoca una triste ironía que deja entrever el hartazgo de la monotonía pero la resignación cansina de conformarse con esa persona que solo la observa mientras se cepilla los dientes. </span>\n\n<span style=\"font-weight: 400;\">Ocean encuentra acercarse a su hijo a través de un tipo de baile relacionado al swing norteamericano, el </span><i><span style=\"font-weight: 400;\">jitterbug</span></i><span style=\"font-weight: 400;\">, que en su interpretación china se caracteriza por un atuendo particular de camisas rojas y adornos singulares como insignias militares o argollas en las gorras. Pero lo exótico y lo extravagante de dicho pasatiempo o mismo de la cultura china solo responde al lugar desde donde lo estamos observando; el fenómeno de la transculturación fomentado en parte por la hiperconectividad y el imperialismo cultural nos ha empapado de influencia norteamericana a tal punto que adoptamos sin resistencia alguna el idioma y sus devariantes como norma, entiéndase el modo de mirar al mundo. ¿Cómo observamos entonces la relación madre e hijo o desde que punto de vista examinamos las relaciones modernas? Preguntas que suscita el cortometraje hacia un público que tal como Ocean se refugia en la excusa de estar ocupada.  </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>\n<span style=\"font-weight: 400;\">Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','I\'m too busy (2020)','','inherit','closed','closed','','1215-revision-v1','','','2020-05-31 13:40:20','2020-05-31 17:40:20','',1215,'http://lapistoladechejov.com/2020/05/31/1215-revision-v1/',0,'revision','',0),(1221,2,'2020-05-31 16:13:07','2020-05-31 20:13:07','<i><span style=\"font-weight: 400;\">Sonja Feldmeier. Suiza. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Un gran árbol en medio de una transitada calle en la India supone un problema para el municipio de la región. La solución, echarlo. No interesa la especie (una ficus religiosa), no importa su edad, y carece de valor cualquier significación religiosa que pudiera tener con el hinduismo y el budismo. </span>\n\n<span style=\"font-weight: 400;\">La poda es violenta, implacable. Ni las bocinas del tráfico atosigante, ni el constante paso de peatones puede detener a los podadores en su tarea. Un montaje frenético describe el ritmo de los hachazos que alterna el estruendo de la caída de una rama con detalles de la madera mutilada. Pero a medida que el árbol se va desmoronando, entre los acercamientos y movimientos de reencuadres que buscan abordar la mayor cantidad de ángulos de visión, emerge otro personaje: la gente. Con el paso del tiempo, los troncos revelan el rostro de los podadores que miran directo a cámara y que hasta incluso conversan con ella pero no con palabras, sino con gestos o poses y sonrisas de complicidad. Ellos fuman frente a cámara, se enorgullecen cuando cae un pedazo importante, y sus manos y pies se inmiscuyen con el aserrín rojizo. Pareciera que la incomodidad inicial de la intromisión de un observador se transforma en la aceptación del registro donde ellos son los protagonistas y el objetivo es uno solo. La entredicha barrera del lenguaje configura otro tipo de diálogo entre realizadora y locales en el cual uno observa y el otro le indica qué observar y dónde, hasta incluso por qué, como si esperase la aprobación de la cámara. </span>\n\n<span style=\"font-weight: 400;\">A la vez, ocurre algo paradójico. A medida que el árbol se va desvaneciendo del paisaje, los transeúntes locales se apropian de alguna parte del árbol, sea leña para paliar el frío, sean los clavos incrustados en la corteza, o las figuras religiosas que alguna vez habían indicado un sitio de veneración contiguo. En </span><b><i>The Peepul Tree</i></b><span style=\"font-weight: 400;\"> el árbol cae rama por rama, se desintegra entre la gente y la muchedumbre anónima sigue su camino no sin antes devolver la mirada. </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>\n<span style=\"font-weight: 400;\">Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','The peepul tree (2020)','','publish','open','open','','the-peepul-tree-2020','','','2020-05-31 16:13:11','2020-05-31 20:13:11','',0,'http://lapistoladechejov.com/?p=1221',0,'post','',0),(1222,2,'2020-05-31 16:06:25','2020-05-31 20:06:25','The peepul tree','the peepul tree 2','','inherit','open','closed','','the-peepul-tree-2','','','2020-05-31 16:06:42','2020-05-31 20:06:42','',1221,'http://lapistoladechejov.com/wp-content/uploads/2020/05/the-peepul-tree-2.jpg',0,'attachment','image/jpeg',0),(1223,2,'2020-05-31 16:08:06','2020-05-31 20:08:06','<i><span style=\"font-weight: 400;\">Sonja Feldmeier. Suiza. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Un gran árbol en medio de una transitada calle en la India supone un problema para el municipio de la región. La solución, echarlo. No interesa la especie (una ficus religiosa), no importa su edad, y carece de valor cualquier significación religiosa que pudiera tener con el hinduismo y el budismo. </span>\n\n<span style=\"font-weight: 400;\">La poda es violenta, implacable. Ni las bocinas del tráfico atosigante, ni el constante paso de peatones puede detener a los podadores en su tarea. Un montaje frenético describe el ritmo de los hachazos que alterna el estruendo de la caída de una rama con detalles de la madera mutilada. Pero a medida que el árbol se va desmoronando, entre los acercamientos y movimientos de reencuadres que buscan abordar la mayor cantidad de ángulos de visión, emerge otro personaje: la gente. Con el paso del tiempo, los troncos revelan el rostro de los podadores que miran directo a cámara y que hasta incluso conversan con ella pero no con palabras, pero con gestos o poses y sonrisas de complicidad. Ellos fuman frente a cámara, se enorgullecen cuando cae un pedazo importante, y sus manos y pies se inmiscuyen con el aserrín rojizo. Pareciera que la incomodidad inicial de la intromisión de un observador se transforma en la aceptación del registro donde ellos son los protagonistas y el objetivo es uno solo. La entredicha barrera del lenguaje configura otro tipo de diálogo entre realizadora y locales en el cual una observa y el otro le indica qué observar y dónde, hasta incluso por qué, como si esperase la aprobación de la cámara. </span>\n\n<span style=\"font-weight: 400;\">A la vez, ocurre algo paradójico. A medida que el árbol se va desvaneciendo del paisaje, los transeúntes locales se apropian de alguna parte del árbol, sea leña para paliar el frío, sean los clavos incrustados en la corteza, o las imaginería religiosa que alguna vez había indicado un sitio de veneración. En </span><b><i>The Peepul Tree</i></b><span style=\"font-weight: 400;\"> el árbol cae rama por rama, se desintegra entre la gente y la muchedumbre anónima sigue su camino. </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>\n<span style=\"font-weight: 400;\">Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','The peepul tree (2020)','','inherit','closed','closed','','1221-revision-v1','','','2020-05-31 16:08:06','2020-05-31 20:08:06','',1221,'http://lapistoladechejov.com/2020/05/31/1221-revision-v1/',0,'revision','',0),(1224,2,'2020-05-31 16:11:23','2020-05-31 20:11:23','<i><span style=\"font-weight: 400;\">Sonja Feldmeier. Suiza. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Un gran árbol en medio de una transitada calle en la India supone un problema para el municipio de la región. La solución, echarlo. No interesa la especie (una ficus religiosa), no importa su edad, y carece de valor cualquier significación religiosa que pudiera tener con el hinduismo y el budismo. </span>\n\n<span style=\"font-weight: 400;\">La poda es violenta, implacable. Ni las bocinas del tráfico atosigante, ni el constante paso de peatones puede detener a los podadores en su tarea. Un montaje frenético describe el ritmo de los hachazos que alterna el estruendo de la caída de una rama con detalles de la madera mutilada. Pero a medida que el árbol se va desmoronando, entre los acercamientos y movimientos de reencuadres que buscan abordar la mayor cantidad de ángulos de visión, emerge otro personaje: la gente. Con el paso del tiempo, los troncos revelan el rostro de los podadores que miran directo a cámara y que hasta incluso conversan con ella pero no con palabras, sino con gestos o poses y sonrisas de complicidad. Ellos fuman frente a cámara, se enorgullecen cuando cae un pedazo importante, y sus manos y pies se inmiscuyen con el aserrín rojizo. Pareciera que la incomodidad inicial de la intromisión de un observador se transforma en la aceptación del registro donde ellos son los protagonistas y el objetivo es uno solo. La entredicha barrera del lenguaje configura otro tipo de diálogo entre realizadora y locales en el cual uno observa y el otro le indica qué observar y dónde, hasta incluso por qué, como si esperase la aprobación de la cámara. </span>\n\n<span style=\"font-weight: 400;\">A la vez, ocurre algo paradójico. A medida que el árbol se va desvaneciendo del paisaje, los transeúntes locales se apropian de alguna parte del árbol, sea leña para paliar el frío, sean los clavos incrustados en la corteza, o las figuras religiosas que alguna vez habían indicado un sitio de veneración. En </span><b><i>The Peepul Tree</i></b><span style=\"font-weight: 400;\"> el árbol cae rama por rama, se desintegra entre la gente y la muchedumbre anónima sigue su camino no sin antes devolver la mirada. </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>\n<span style=\"font-weight: 400;\">Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','The peepul tree (2020)','','inherit','closed','closed','','1221-revision-v1','','','2020-05-31 16:11:23','2020-05-31 20:11:23','',1221,'http://lapistoladechejov.com/2020/05/31/1221-revision-v1/',0,'revision','',0),(1225,2,'2020-05-31 16:12:30','2020-05-31 20:12:30','<i><span style=\"font-weight: 400;\">Sonja Feldmeier. Suiza. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Un gran árbol en medio de una transitada calle en la India supone un problema para el municipio de la región. La solución, echarlo. No interesa la especie (una ficus religiosa), no importa su edad, y carece de valor cualquier significación religiosa que pudiera tener con el hinduismo y el budismo. </span>\n\n<span style=\"font-weight: 400;\">La poda es violenta, implacable. Ni las bocinas del tráfico atosigante, ni el constante paso de peatones puede detener a los podadores en su tarea. Un montaje frenético describe el ritmo de los hachazos que alterna el estruendo de la caída de una rama con detalles de la madera mutilada. Pero a medida que el árbol se va desmoronando, entre los acercamientos y movimientos de reencuadres que buscan abordar la mayor cantidad de ángulos de visión, emerge otro personaje: la gente. Con el paso del tiempo, los troncos revelan el rostro de los podadores que miran directo a cámara y que hasta incluso conversan con ella pero no con palabras, sino con gestos o poses y sonrisas de complicidad. Ellos fuman frente a cámara, se enorgullecen cuando cae un pedazo importante, y sus manos y pies se inmiscuyen con el aserrín rojizo. Pareciera que la incomodidad inicial de la intromisión de un observador se transforma en la aceptación del registro donde ellos son los protagonistas y el objetivo es uno solo. La entredicha barrera del lenguaje configura otro tipo de diálogo entre realizadora y locales en el cual uno observa y el otro le indica qué observar y dónde, hasta incluso por qué, como si esperase la aprobación de la cámara. </span>\n\n<span style=\"font-weight: 400;\">A la vez, ocurre algo paradójico. A medida que el árbol se va desvaneciendo del paisaje, los transeúntes locales se apropian de alguna parte del árbol, sea leña para paliar el frío, sean los clavos incrustados en la corteza, o las figuras religiosas que alguna vez habían indicado un sitio de veneración contiguo. En </span><b><i>The Peepul Tree</i></b><span style=\"font-weight: 400;\"> el árbol cae rama por rama, se desintegra entre la gente y la muchedumbre anónima sigue su camino no sin antes devolver la mirada. </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>\n<span style=\"font-weight: 400;\">Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','The peepul tree (2020)','','inherit','closed','closed','','1221-revision-v1','','','2020-05-31 16:12:30','2020-05-31 20:12:30','',1221,'http://lapistoladechejov.com/2020/05/31/1221-revision-v1/',0,'revision','',0),(1245,2,'2020-06-11 14:24:00','2020-06-11 18:24:00','<span style=\"font-weight: 400;\">Director, productor y actor de sus películas, es innegable que Clint Eastwood es un autor de cine, una especie de Woody Allen regurgitado por la aridez del oeste con una pizca de la inexpresividad desafiante de Arnold Schwarzenegger. Habiendo pasado dos noches con él, luego de años de indiferencia hacia su carrera, me doy cuenta que Clint es más que eso. Y aún no sé si en el buen sentido. </span>\n\n<span style=\"font-weight: 400;\">Clint es un hombre de familia, el hombre de familia. Protector, defensor o líder de la manada, como queramos llamarle. Como tal, su motivación principal es proveer sustento económico. Quizás sea por esto que sus propios hijos encarnan los roles de sus hijos en pantalla, no lo sé. Lo cierto es que a pesar de esto, los “Clints” de Clint, llámense Earl o Walt, carecen de una relación afectiva con su familia, o los ha dejado de lado, o con el tiempo se han vuelto desconocidos, lo que se traduce en relaciones truncadas cargadas de resentimiento. Ya volveremos a esto. </span>\n\n<span style=\"font-weight: 400;\">Clint es un veterano de la guerra de Corea. No es ajeno a la violencia, sabe lo que es matar a un hombre y a sus ochenta y tanto años, aún carga estoicamente con el trauma de su pasado. Pero no se opone al conflicto violento, de hecho, lo atrae. O lo busca. O lo evade a medias, porque pandilleros y narcotraficantes armados anticipan hostilidad. </span>\n\n<span style=\"font-weight: 400;\">Clint es xenofóbico, y no lo oculta. No solo se rodea de personajes asiáticos, mexicanos y afroamericanos a los cuales insulta cada tres palabras sin consecuencia alguna sino también incluye escenas que se ocupan solamente de mostrar cómo la incomodidad que que les genera su presencia. Pero Clint es el prototipo del buen hombre norteamericano. El que se baja del coche para ayudar a una familia negra con una rueda pinchada como sucede en </span><i><span style=\"font-weight: 400;\">La Mula, </span></i><span style=\"font-weight: 400;\">pero que no puede evitar remarcar la diferencia racial. El que en su carácter de justiciero pone bajo evidencia los prejuicios de la policía norteamericana cuando estos detienen a un hombre de tez oscura y bigote al volante de una camioneta del año. Y no, ese hombre no era narco. Pero el amigo latino del futuro esposo de su hija, sí, el que le consigue el trabajo de mula. ¿O me equivoco, Clint?</span>\n\n<span style=\"font-weight: 400;\">Además de xenofóbico, Clint es racista. En</span><i><span style=\"font-weight: 400;\"> Gran Torino</span></i><span style=\"font-weight: 400;\"> lo que le molesta es cómo un grupo de pandilleros asiáticos violentan a “uno de los suyos”, no el crimen en sí. No le incomoda sentarse a comer con dos mexicanos, o</span><i><span style=\"font-weight: 400;\"> beaners</span></i><span style=\"font-weight: 400;\"> usando sus palabras, siempre y cuando la mirada de los curiosos sea para ellos y no para él. Políticamente correcto no existe en su vocabulario, y lo admite a viva voz.</span>\n\n<span style=\"font-weight: 400;\">Clint es machista. Le dedica una secuencia extensa a un desfile de nalgas en tanga donde los rostros de las mujeres se reducen a senos y traseros. ¡Vaya plano americano! Deberíamos ponerle un nombre nuevo, plano americana, la </span><i><span style=\"font-weight: 400;\">Mujer sin nombre</span></i><span style=\"font-weight: 400;\"> de nuestro siglo. Pero Clint es también seductor. Su andar avejentado y balbuceo monosilábico es irresistible a mujeres de un cuarto de su edad. Cuando eso no funciona, recurre a su humor seductor. Porque Clint es un galán. Sus esposas le juran devoción eterna. El único hombre de sus vidas. Una especie de caballero, pero en celos. E impotente. Quizás sea un chiste, no lo sé. </span>\n\n<span style=\"font-weight: 400;\">Clint es de color caqui y sus variantes. Cincuenta sombras de caqui, entre el beige labrador y el verde militar, porque estuvo en Corea, ¿se acuerdan?. Esa paleta desaturada es una norma en su fotografía, así como la presencia mandatoria de la bandera norteamericana, o el diseño de sus afiches con fondos oscuros y siluetas en alto contraste. Un poco de </span><i><span style=\"font-weight: 400;\">Unforgiven</span></i><span style=\"font-weight: 400;\">. </span>\n\n<span style=\"font-weight: 400;\">Y hablando de pistoleros, Clint considera que los hombres de verdad son rudos, saben cambiar la rueda de un auto y beben cerveza como agua. Los hombres de Clint se hablan entre insultos y quejas sobre sus esposas, pero eso está bien porque al final del día son ellos los que traen el pan a la casa. De la misma manera, un hombre que se pinta las uñas es una oportunidad para infiltrarse en el Cartel, porque ese hombre de seguro es homosexual, una debilidad que un hombre tan “viril” como Bradley Cooper sabrá aprovechar. Y Clint también, para la historia. </span>\n\n<span style=\"font-weight: 400;\">Clint no es religioso, pero tiene una afinidad por los funerales. Quizás crea en la muerte así como cree en la inmolación como único camino de hacer el bien y alcanzar la redención de sus protagonistas. ¡Qué heroico de tu parte! Aquella sensación de disgusto que un principio generaba a su parentela queda olvidada cuando va a la cárcel; al fin y al cabo, estaba tratando de ayudar a su familia. De nuevo, una insistencia sobre los valores familiares tradicionales: lealtad y unión.</span>\n\n<span style=\"font-weight: 400;\">Porque Clint es un romántico. A sus panorámicas finales y desenlaces lacrimógenos donde queda entredicho que el viaje del protagonista valió la pena, le acompaña una melodía melosa compuesta por él nada más y nada menos, variantes sobre la composición instrumental de </span><i><span style=\"font-weight: 400;\">Million Dollar Baby</span></i><span style=\"font-weight: 400;\"> que le valió una nominación a un Grammy. </span>\n\n<span style=\"font-weight: 400;\">Clint es anticuado. La tecnología es el demonio mayor seguido de la pérdida de valores medievales como la galantería, el honor y el respeto a los mayores. Porque Clint es un anciano. Los personajes que le rodean le tratan de menos por su edad, y él se refugia en esta supuesta fragilidad. Pasa inadvertido, hasta que abre la boca, o enciende un cigarrillo.</span>\n\n<span style=\"font-weight: 400;\">Y por último, Clint es transparente. Un libro abierto. Un viejo libro abierto, sin dibujos. Es insistente. Parece contar lo mismo de las mismas maneras, como la mandatoria película de terror en la cartelera local. El inocente vuelto culpable, el inocente culpable que nunca lastimó a nadie, el inocente que se entromete en riñas ajenas, el inocente absuelto… </span>\n\n<span style=\"font-weight: 400;\">Pero hay que darle lo suyo. Para ser un hombre de pocas palabras, Clint no oculta sus creencias en su cine sino deja a criterio de cada uno tolerarlo o no. Intenta ser razonable, pero es obvio que no le gusta. Porque Clint es el abuelo cascarrabias que se queja de todo pero al que no vale la pena decirle nada porque ya no cambiará. </span>\n\n<span style=\"font-weight: 400;\">No sé si nos volveremos a encontrar en los créditos sobre la imagen, así que por de pronto, hasta la próxima, Clint.</span>','Dos noches con Clint Eastwood','','publish','open','open','','dos-noches-con-clint-eastwood','','','2020-10-13 15:37:26','2020-10-13 18:37:26','',0,'http://lapistoladechejov.com/?p=1245',0,'post','',0),(1229,2,'2020-06-01 14:05:07','2020-06-01 18:05:07','<i><span style=\"font-weight: 400;\">The Bite. Pedro Neves Marques. Portugal. 2019</span></i>\n\n<span style=\"font-weight: 400;\">La textura hexagonal de los mosquiteros impide la salida de los mosquitos de un frasco en un laboratorio, pero también funciona al revés, pues resguarda a sus personajes que se encuentran ante el asedio de una epidemia. Pero el peligro palpable no deviene precisamente de la enfermedad mortífera transmitida por el vector. </span><b><i>A Mordida </i></b><span style=\"font-weight: 400;\">relata una guerra silenciosa, invisible, que ocurre bajo el velo de la supuesta protección pero que esconde el exterminio absoluto de una especie que no hace más que intentar atravesar paredes. </span>\n\n<span style=\"font-weight: 400;\">Un montaje que alterna escenas en un laboratorio donde experimentan con la esterilización del mosquito macho con el confinamiento rutinario de una pareja no binaria y poliamorosa, establece una analogía entre lo que sucede a los mosquitos enfrascados y a las personas desterradas. Si se logra introducir un gen nuevo y esparcirlo en la población, se logrará extinguir a una especie completa, narra un científico. Es inevitable pensar en los alcances que podría tener la intervención del hombre en la naturaleza, y del peligro de poner dichas estrategias en función a las políticas fascistas del gobierno de turno. No en vano, una banda sonora tétrica de siniestros bajos y agudos estridentes acompaña el relato; el horror surge de miedos concretos. </span>\n\n<span style=\"font-weight: 400;\">En la fotografía, el granulado del analógico custodia la imagen, como si todo fuera visto a través de una tela red. A su vez, el verde de la naturaleza y de la habitación entinta la imagen en un acto de resistencia frente al blanco esterilizado y homogéneo del laboratorio, mientras que el uso constante del </span><i><span style=\"font-weight: 400;\">zoom in</span></i><span style=\"font-weight: 400;\"> ya sea en el medio del bosque o sobre el rostro de un personaje busca denunciar lo que no se ve a primera vista. ¿Qué acecha entre los troncos de un árbol? ¿Quién vigila a este investigador genocida en este combate indefinido?</span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></i>','A mordida (2019)','','inherit','closed','closed','','1227-revision-v1','','','2020-06-01 14:05:07','2020-06-01 18:05:07','',1227,'http://lapistoladechejov.com/2020/06/01/1227-revision-v1/',0,'revision','',0),(1230,2,'2020-06-01 16:41:52','2020-06-01 20:41:52','<i><span style=\"font-weight: 400;\">Sebastián Valencia Muñoz. Colombia. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Una familia arriba a una casa abandonada en medio de la selva, una vivienda absorbida por la frondosa vegetación y los vestigios de un pasado desconocido. El ruido de una piedra que choca contra un pedazo de chapa es casi el sonido de una bala que invade el plano de unos bultos envueltos en plástico y que fugazmente desfilaron ante nuestros ojos tan solo unos segundos antes. En esta sutileza, donde las expectativas suscitadas se inmiscuyen con lo que hechos, radica la noción de que ciertos territorios son incapaces de separarse de su propia historia, sea una finca o un país.</span>\n\n<b><i>El Remanso </i></b><span style=\"font-weight: 400;\">describe una tensión incómoda que se incrementa segundo a segundo pero que ignora el alivio del golpe evidente de un machetazo; aquí, la violencia actúa de otra manera, entre la anticipación y la evocación. Por un lado, en la agudeza de la omisión de los momentos catalíticos de cada escena, se construye una sensación de agobio exasperante, porque el desahogo nunca llega, solo corta a una siguiente escena. Así, la hija adolescente atisba a través de la rendija de una puerta sangre salpicada por la pared, pero no la vemos decir nada, o el niño deambula por los pasillos de la casa a punto de cortar a alguien, pero no llega a lastimarse.</span>\n\n<span style=\"font-weight: 400;\">Por otra parte, existe una violencia fuera de campo que acecha a sus personajes, como si la casa misma quisiera advertirles del peligro del lugar, y que cada tanto se materializa en forma de un objeto, ya sea un machete, una bala o un hueso. Una cámara en mano persigue a su personaje en busca de agua y al hacerlo revela que ahí no hay nadie más que él. Aun así, en </span><b><i>El Remanso</i></b><span style=\"font-weight: 400;\"> alguien parece estar siempre vigilando, pues el punto de vista se esconde tras los matorrales o bien contempla desde lejos en un plano tan abierto que la inmensidad del campo tupido pareciera esconder más que un secreto. El contraluz casi constante dibuja siluetas enigmáticas que se funden con las paredes de la vivienda a la par que los encuadres enmarcados por las aberturas confinan a la familia a vivir bajo las sombras; permanecer ahí es asumir un futuro incierto no muy distinto al de la casa misma donde un machete podría cortar más que un par de naranjas. </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>','El Remanso (2020)','','publish','open','open','','el-remanso-2020','','','2020-06-01 16:46:47','2020-06-01 20:46:47','',0,'http://lapistoladechejov.com/?p=1230',0,'post','',0),(1231,2,'2020-06-01 16:40:19','2020-06-01 20:40:19','El remanso','el remanso vis','','inherit','open','closed','','el-remanso-vis','','','2020-06-01 16:40:35','2020-06-01 20:40:35','',1230,'http://lapistoladechejov.com/wp-content/uploads/2020/06/el-remanso-vis.png',0,'attachment','image/png',0),(1232,2,'2020-06-01 16:41:28','2020-06-01 20:41:28','<i><span style=\"font-weight: 400;\">Sebastián Valencia Muñoz. Colombia. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Una familia arriba a una casa abandonada en medio de la selva, una vivienda absorbida por la frondosa vegetación y los vestigios de un pasado desconocido. El ruido de una piedra que choca contra un pedazo de chapa es casi el sonido de una bala que invade el plano de unos bultos envueltos en plástico y que fugazmente desfilaron ante nuestros ojos tan solo unos segundos antes. En esta sutil fusión, donde las expectativas suscitadas se inmiscuyen con lo que hechos, radica la noción de que ciertos territorios son incapaces de separarse de su propia historia, sea una finca o un país.</span>\n\n<b><i>El Remanso </i></b><span style=\"font-weight: 400;\">describe una tensión incómoda que se incrementa segundo a segundo pero que ignora el alivio del golpe evidente de un machetazo; aquí, la violencia actúa de otra manera, entre la anticipación y la evocación. Por un lado, en la agudeza de la omisión de los momentos catalíticos de cada escena, se construye una sensación de agobio exasperante, porque el desahogo nunca llega, solo corta a una siguiente escena. Así, la hija adolescente atisba a través de la rendija de una puerta sangre salpicada por la pared, pero no la vemos decir nada, o el niño deambula por los pasillos de la casa a punto de cortar a alguien, pero no llega a lastimarse.</span>\n\n<span style=\"font-weight: 400;\">Por otra parte, existe una violencia fuera de campo que acecha a sus personajes, como si la casa misma quisiera advertirles del peligro del lugar, y que cada tanto se materializa en forma de un objeto, ya sea un machete, una bala o un hueso. Una cámara en mano persigue a su personaje en busca de agua y al hacerlo revela que ahí no hay nadie más que él. Aun así, en </span><b><i>El Remanso</i></b><span style=\"font-weight: 400;\"> alguien parece estar siempre vigilando, pues el punto de vista se esconde tras los matorrales o bien contempla desde lejos en un plano tan abierto que la inmensidad del campo tupido pareciera esconder más que un secreto. El contraluz casi constante dibuja siluetas enigmáticas que se funden con las paredes de la vivienda a la par que los encuadres enmarcados por las aberturas confinan a la familia a vivir bajo las sombras; permanecer ahí es asumir un futuro incierto no muy distinto al de la casa misma donde un machete podría cortar más que un par de naranjas. </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>','El Remanso (2020)','','inherit','closed','closed','','1230-revision-v1','','','2020-06-01 16:41:28','2020-06-01 20:41:28','',1230,'http://lapistoladechejov.com/2020/06/01/1230-revision-v1/',0,'revision','',0),(1233,2,'2020-06-01 16:46:41','2020-06-01 20:46:41','<i><span style=\"font-weight: 400;\">Sebastián Valencia Muñoz. Colombia. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Una familia arriba a una casa abandonada en medio de la selva, una vivienda absorbida por la frondosa vegetación y los vestigios de un pasado desconocido. El ruido de una piedra que choca contra un pedazo de chapa es casi el sonido de una bala que invade el plano de unos bultos envueltos en plástico y que fugazmente desfilaron ante nuestros ojos tan solo unos segundos antes. En esta sutileza, donde las expectativas suscitadas se inmiscuyen con lo que hechos, radica la noción de que ciertos territorios son incapaces de separarse de su propia historia, sea una finca o un país.</span>\n\n<b><i>El Remanso </i></b><span style=\"font-weight: 400;\">describe una tensión incómoda que se incrementa segundo a segundo pero que ignora el alivio del golpe evidente de un machetazo; aquí, la violencia actúa de otra manera, entre la anticipación y la evocación. Por un lado, en la agudeza de la omisión de los momentos catalíticos de cada escena, se construye una sensación de agobio exasperante, porque el desahogo nunca llega, solo corta a una siguiente escena. Así, la hija adolescente atisba a través de la rendija de una puerta sangre salpicada por la pared, pero no la vemos decir nada, o el niño deambula por los pasillos de la casa a punto de cortar a alguien, pero no llega a lastimarse.</span>\n\n<span style=\"font-weight: 400;\">Por otra parte, existe una violencia fuera de campo que acecha a sus personajes, como si la casa misma quisiera advertirles del peligro del lugar, y que cada tanto se materializa en forma de un objeto, ya sea un machete, una bala o un hueso. Una cámara en mano persigue a su personaje en busca de agua y al hacerlo revela que ahí no hay nadie más que él. Aun así, en </span><b><i>El Remanso</i></b><span style=\"font-weight: 400;\"> alguien parece estar siempre vigilando, pues el punto de vista se esconde tras los matorrales o bien contempla desde lejos en un plano tan abierto que la inmensidad del campo tupido pareciera esconder más que un secreto. El contraluz casi constante dibuja siluetas enigmáticas que se funden con las paredes de la vivienda a la par que los encuadres enmarcados por las aberturas confinan a la familia a vivir bajo las sombras; permanecer ahí es asumir un futuro incierto no muy distinto al de la casa misma donde un machete podría cortar más que un par de naranjas. </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>','El Remanso (2020)','','inherit','closed','closed','','1230-revision-v1','','','2020-06-01 16:46:41','2020-06-01 20:46:41','',1230,'http://lapistoladechejov.com/2020/06/01/1230-revision-v1/',0,'revision','',0),(1235,2,'2020-06-03 09:25:10','2020-06-03 13:25:10','<i><span style=\"font-weight: 400;\">Agustina San Martín. Argentina. 2019</span></i>\n\n<span style=\"font-weight: 400;\">Las torres eléctricas conquistan el cielo y se imponen en el paisaje anubarrado de </span><b><i>Monstruo Dios. </i></b><span style=\"font-weight: 400;\">Cada cumbre imponente se erige en medio de la bruma nocturna con figuras que remiten a las catedrales góticas del medioevo. Sobre estas imágenes opacas que exhiben los detalles de la estructura de acero y cable que conforma la planta, como si ésta fuera un templo arquitectónico, se asoma el murmullo de un rito religioso. Imagen y sonido encuentran a Dios en la tensión de los cabos, una deidad particular que aquí reside en los aisladores de disco de las líneas de transmisión y que se lleva, sin explicación alguna, a los habitantes terrenales de la región.</span>\n\n<span style=\"font-weight: 400;\">En</span><b><i> Monstruo Dios</i></b><span style=\"font-weight: 400;\"> electricidad y religión son uno. Los cables habitan el plano y se extienden a un más allá invisible, mientras que los rezos rutinarios infectan con sus palabras cada espacio sin pensarlo, tal como la radio de un auto que sintoniza de inmediato una misa o una discoteca donde una mujer baila ensimismada al son de un ritmo empalagoso que repite </span><i><span style=\"font-weight: 400;\">“Jesucristo, Jesucristo, Jesucristo”</span></i><span style=\"font-weight: 400;\">, indicios de un fanatismo aparatoso y siniestro. La monotonía de la multitud en trance se empastela con el zumbido de la electricidad; donde los cables llegan, la presencia de este Dios que todo lo ve y todo lo observa vigila a quienes intentan evadirse.</span>\n\n<span style=\"font-weight: 400;\">Un punto luminoso viaja a través los cables y arroja un destello que colorea la imagen de un rojo fugaz y agresivo que encandila y perturba. ¿Será posible eludir su mirada hostigadora o es tan imposible como vivir sin electricidad? Las únicas inadvertidas en este fantasmagórico ambiente, parecieran ser las vacas que con su mirada fija a cámara cuestionan nuestra devolución casi innata. ¿Seremos capaces de apartarnos del ganado?</span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>','Monstruo Dios (2019)','','publish','open','open','','monstruo-dios-2019','','','2020-06-03 09:25:14','2020-06-03 13:25:14','',0,'http://lapistoladechejov.com/?p=1235',0,'post','',0),(1236,2,'2020-06-03 09:22:21','2020-06-03 13:22:21','Monstruo Dios','monstruo dios 2','','inherit','open','closed','','monstruo-dios-2','','','2020-06-03 09:22:38','2020-06-03 13:22:38','',1235,'http://lapistoladechejov.com/wp-content/uploads/2020/06/monstruo-dios-2.jpg',0,'attachment','image/jpeg',0),(1237,2,'2020-06-03 09:22:49','2020-06-03 13:22:49','<i><span style=\"font-weight: 400;\">Agustina San Martín. Argentina. 2019</span></i>\n\n<span style=\"font-weight: 400;\">Las torres eléctricas conquistan el cielo y se imponen en el paisaje anubarrado de </span><b><i>Monstruo Dios. </i></b><span style=\"font-weight: 400;\">Cada cumbre imponente se erige en medio de la bruma nocturna con figuras que remiten a las catedrales góticas del medioevo. Sobre estas imágenes opacas que exhiben los detalles de la estructura de acero y cable que conforma la planta, como si ésta fuera un templo arquitectónico, se asoma el murmullo de un rito religioso. Imagen y sonido encuentran a Dios en la tensión de los cabos, una deidad particular que aquí reside en los aisladores de disco de las líneas de transmisión y que se lleva, sin explicación alguna, a los habitantes terrenales de la región.</span>\n\n<span style=\"font-weight: 400;\">En</span><b><i> Monstruo Dios</i></b><span style=\"font-weight: 400;\"> electricidad y religión son uno. Los cables habitan el plano y se extienden a un más allá invisible, mientras que los rezos rutinarios infectan con sus palabras cada espacio sin pensarlo, tal como la radio de un auto que sintoniza de inmediato una misa o una discoteca donde una mujer baila ensimismada al son de un ritmo empalagoso que repite </span><i><span style=\"font-weight: 400;\">“Jesucristo, Jesucristo, Jesucristo”</span></i><span style=\"font-weight: 400;\">, indicios de un fanatismo aparatoso y siniestro. La monotonía de la multitud en trance se empastela con el zumbido de la electricidad; donde los cables llegan, la presencia de este Dios que todo lo ve y todo lo observa vigila a quienes intentan evadirse.</span>\n\n<span style=\"font-weight: 400;\">Un punto luminoso viaja a través los cables y arroja un destello que colorea la imagen de un rojo fugaz y agresivo que encandila y perturba. ¿Será posible eludir su mirada hostigadora o es tan imposible como vivir sin electricidad? Las únicas inadvertidas en este fantasmagórico ambiente, parecieran ser las vacas que con su mirada fija a cámara cuestionan nuestra devolución casi innata. ¿Seremos capaces de apartarnos del ganado?</span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>','Monstruo Dios (2019)','','inherit','closed','closed','','1235-revision-v1','','','2020-06-03 09:22:49','2020-06-03 13:22:49','',1235,'http://lapistoladechejov.com/2020/06/03/1235-revision-v1/',0,'revision','',0),(1238,2,'2020-06-03 09:23:49','2020-06-03 13:23:49','Monstruo Dios','monstruo dios','','inherit','open','closed','','monstruo-dios','','','2020-06-03 09:23:59','2020-06-03 13:23:59','',1235,'http://lapistoladechejov.com/wp-content/uploads/2020/06/monstruo-dios.jpg',0,'attachment','image/jpeg',0),(1246,2,'2020-06-11 14:16:29','2020-06-11 18:16:29','','clint','','inherit','open','closed','','clint','','','2020-06-11 14:16:42','2020-06-11 18:16:42','',1245,'http://lapistoladechejov.com/wp-content/uploads/2020/06/clint.png',0,'attachment','image/png',0),(1247,2,'2020-06-11 14:17:34','2020-06-11 18:17:34','<span style=\"font-weight: 400;\">Director, productor y actor de sus películas, es innegable que Clint Eastwood es un autor de cine, una especie de Woody Allen regurgitado por la aridez del oeste con una pizca de la inexpresividad desafiante de Arnold Schwarzenegger. Habiendo pasado dos noches con él, luego de años de indiferencia hacia su carrera, me doy cuenta que Clint es más que eso. Y aún no sé si en el buen sentido. </span>\n\n<span style=\"font-weight: 400;\">Clint es un hombre de familia, el hombre de familia. Protector, defensor o líder de la manada, como queramos llamarle. Como tal, su motivación principal es proveer sustento económico. Quizás sea por esto que sus propios hijos encarnan los roles de sus hijos en pantalla, no lo sé. Lo cierto es que a pesar de esto, los “Clints” de Clint, llámense Earl o Walt, carecen de una relación afectiva con su familia, o los ha dejado de lado, o con el tiempo se han vuelto desconocidos, lo que se traduce en relaciones truncadas cargadas de resentimiento. Ya volveremos a esto. </span>\n\n<span style=\"font-weight: 400;\">Clint es un veterano de la guerra de Corea. No es ajeno a la violencia, sabe lo que es matar a un hombre y a sus ochenta y tanto años, aún carga estoicamente con el trauma de su pasado. Pero no se opone al conflicto violento, de hecho, lo atrae. O lo busca. O lo evade a medias, porque pandilleros y narcotraficantes armados anticipan hostilidad. </span>\n\n<span style=\"font-weight: 400;\">Clint es xenofóbico, y no lo oculta. No solo se rodea de personajes asiáticos, mexicanos y afroamericanos a los cuales insulta cada tres palabras sin consecuencia alguna sino también incluye escenas que se ocupan solamente de mostrar cómo la incomodidad que que les genera su presencia. Pero Clint es el prototipo del buen hombre norteamericano. El que se baja del coche para ayudar a una familia negra con una rueda pinchada como sucede en </span><i><span style=\"font-weight: 400;\">La Mula, </span></i><span style=\"font-weight: 400;\">pero que no puede evitar remarcar la diferencia racial. El que en su carácter de justiciero pone bajo evidencia los prejuicios de la policía norteamericana cuando estos detienen a un hombre de tez oscura y bigote al volante de una camioneta del año. Y no, ese hombre no era narco. Pero el amigo latino del futuro esposo de su hija, sí, el que le consigue el trabajo de mula. ¿O me equivoco, Clint?</span>\n\n<span style=\"font-weight: 400;\">Además de xenofóbico, Clint es racista. En</span><i><span style=\"font-weight: 400;\"> Gran Torino</span></i><span style=\"font-weight: 400;\"> lo que le molesta es cómo un grupo de pandilleros asiáticos violentan a “uno de los suyos”, no el crimen en sí. No le incomoda sentarse a comer con dos mexicanos, o</span><i><span style=\"font-weight: 400;\"> beaners</span></i><span style=\"font-weight: 400;\"> usando sus palabras, siempre y cuando la mirada de los curiosos sea para ellos y no para él. Políticamente correcto no existe en su vocabulario, y lo admite a viva voz.</span>\n\n<span style=\"font-weight: 400;\">Clint es machista. Le dedica una secuencia extensa a un desfile de nalgas en tanga donde los rostros de las mujeres se reducen a senos y traseros. ¡Vaya plano americano! Deberíamos ponerle un nombre nuevo, plano americana, la </span><i><span style=\"font-weight: 400;\">Mujer sin nombre</span></i><span style=\"font-weight: 400;\"> de nuestro siglo. Pero Clint es también seductor. Su andar avejentado y balbuceo monosilábico es irresistible a mujeres de un cuarto de su edad. Cuando eso no funciona, recurre a su humor seductor. Porque Clint es un galán. Sus esposas le juran devoción eterna. El único hombre de sus vidas. Una especie de caballero, pero en celos. E impotente. Quizás sea un chiste, no lo sé. </span>\n\n<span style=\"font-weight: 400;\">Clint es de color caqui y sus variantes. Cincuenta sombras de caqui, entre el beige labrador y el verde militar, porque estuvo en Corea, ¿se acuerdan?. Esa paleta desaturada es una norma en su fotografía, así como la presencia mandatoria de la bandera norteamericana, o el diseño de sus afiches con fondos oscuros y siluetas en alto contraste. Un poco de </span><i><span style=\"font-weight: 400;\">Unforgiven</span></i><span style=\"font-weight: 400;\">. </span>\n\n<span style=\"font-weight: 400;\">Y hablando de pistoleros, Clint considera que los hombres de verdad son rudos, saben cambiar la rueda de un auto y beben cerveza como agua. Los hombres de Clint se hablan entre insultos y quejas sobre sus esposas, pero eso está bien porque al final del día son ellos los que traen el pan a la casa. De la misma manera, un hombre que se pinta las uñas es una oportunidad para infiltrarse en el Cartel, porque ese hombre de seguro es homosexual, una debilidad que un hombre tan “viril” como Bradley Cooper sabrá aprovechar. Y Clint también, para la historia. </span>\n\n<span style=\"font-weight: 400;\">Clint no es religioso, pero tiene una afinidad por los funerales. Quizás crea en la muerte así como cree en la inmolación como único camino de hacer el bien y alcanzar la redención de sus protagonistas. ¡Qué heroico de tu parte! Aquella sensación de disgusto que un principio generaba a su parentela queda olvidada cuando va a la cárcel; al fin y al cabo, estaba tratando de ayudar a su familia. De nuevo, una insistencia sobre los valores familiares tradicionales: lealtad y unión.</span>\n\n<span style=\"font-weight: 400;\">Porque Clint es un romántico. A sus panorámicas finales y desenlaces lacrimógenos donde queda entredicho que el viaje del protagonista valió la pena, le acompaña una melodía melosa compuesta por él nada más y nada menos, variantes sobre la composición instrumental de </span><i><span style=\"font-weight: 400;\">Million Dollar Baby</span></i><span style=\"font-weight: 400;\"> que le valió una nominación a un Grammy. </span>\n\n<span style=\"font-weight: 400;\">Clint es anticuado. La tecnología es el demonio mayor seguido de la pérdida de valores medievales como la galantería, el honor y el respeto a los mayores. Porque Clint es un anciano. Los personajes que le rodean le tratan de menos por su edad, y él se refugia en esta supuesta fragilidad. Pasa inadvertido, hasta que abre la boca, o enciende un cigarrillo.</span>\n\n<span style=\"font-weight: 400;\">Y por último, Clint es transparente. Un libro abierto. Un viejo libro abierto, sin dibujos. Es insistente. Parece contar lo mismo de las mismas maneras, como la mandatoria película de terror en la cartelera local. El inocente vuelto culpable, el inocente culpable que nunca lastimó a nadie, el inocente que se entromete en riñas ajenas, el inocente absuelto… </span>\n\n<span style=\"font-weight: 400;\">Pero hay que darle lo suyo. Para ser un hombre de pocas palabras, Clint no oculta sus creencias en su cine sino deja a criterio de cada uno tolerarlo o no. Intenta ser razonable, pero es obvio que no le gusta. Porque Clint es el abuelo cascarrabias que se queja de todo pero al que no vale la pena decirle nada porque ya no cambiará. </span>\n\n<span style=\"font-weight: 400;\">No sé si nos volveremos a encontrar en los créditos sobre la imagen, así que por de pronto, hasta la próxima, Clint.</span>\n<h6>*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</h6>','Dos noches con Clint Eastwood','','inherit','closed','closed','','1245-revision-v1','','','2020-06-11 14:17:34','2020-06-11 18:17:34','',1245,'http://lapistoladechejov.com/2020/06/11/1245-revision-v1/',0,'revision','',0),(1240,2,'2020-06-04 08:16:13','2020-06-04 12:16:13','','el silencio','','inherit','open','closed','','el-silencio','','','2020-06-04 08:16:13','2020-06-04 12:16:13','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/06/el-silencio.jpeg',0,'attachment','image/jpeg',0),(1241,2,'2020-06-04 08:16:20','2020-06-04 12:16:20','','i was','','inherit','open','closed','','i-was','','','2020-06-04 08:16:20','2020-06-04 12:16:20','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/06/i-was.jpg',0,'attachment','image/jpeg',0),(1242,2,'2020-06-04 08:16:27','2020-06-04 12:16:27','','los sonambulos','','inherit','open','closed','','los-sonambulos','','','2020-06-04 08:16:27','2020-06-04 12:16:27','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/06/los-sonambulos.jpg',0,'attachment','image/jpeg',0),(1243,2,'2020-06-04 08:18:58','2020-06-04 12:18:58','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"alignleft size-thumbnail wp-image-1242\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/los-sonambulos-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Adormecidos bajo el calor veraniego. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/los-sonambulos/\">http://www.elespectadorimaginario.com/los-sonambulos/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1240\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/el-silencio-150x150.jpeg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Memoria y libertad. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/memoria-y-libertad/\">http://www.elespectadorimaginario.com/memoria-y-libertad/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1241\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/i-was-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Los vacíos del pero. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/estaba-en-casa-pero/\">http://www.elespectadorimaginario.com/estaba-en-casa-pero/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1093\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3-150x150.jpg\" alt=\"Bacurau\" width=\"150\" height=\"150\" /></p>\n<p>Vazquez, A. (2020, abril). Más brutal que la fantasía. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/bacurau/\">http://www.elespectadorimaginario.com/bacurau/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1175\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Amor en tiempos de mafia. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/first-love/\">http://www.elespectadorimaginario.com/first-love/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1176\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Resistiendo al tiempo. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/resistiendo-al-tiempo/\">http://www.elespectadorimaginario.com/resistiendo-al-tiempo/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1177\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Serge Daney y la Cahiers. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/\">http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1178\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). Elegante violencia al estilo neo-noir. El espectador Imaginario, (110). <a href=\"http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/\">http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1179\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). El precio del martirio. El espectador Imaginario, (110). <a href=\"https://www.elespectadorimaginario.com/vida-oculta/\">https://www.elespectadorimaginario.com/vida-oculta/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2020-06-04 08:18:58','2020-06-04 12:18:58','',812,'http://lapistoladechejov.com/2020/06/04/812-revision-v1/',0,'revision','',0),(1276,2,'2020-07-17 15:17:01','2020-07-17 19:17:01','<h2>Prisioneras del heroísmo</h2>\n<p><span style=\"font-weight: 400;\">A primera vista, podría resultar descabellado trazar puntos en común entre </span><b><i>Prisioneros de una noche </i></b><span style=\"font-weight: 400;\">(1962) de David José Kohon y </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">(1968) de Rodolfo Kuhn, pero más allá del contexto temporal y espacial, o del final agridulce presente en ambos relatos, cada uno con su tono pertinente, encuentro un grito de liberación femenina consciente de la clase social de sus protagonistas mujeres. En una Buenos Aires sesentosa, marcada por el auge de la cultura juvenil y de movimientos artísticos de vanguardia en plena contienda con los espacios de poder empedernidos en frenar cualquier impulso de transformación, el cine de Kohon y Kuhn son lamentos derrotados que claman libertad a sus desarraigadas, el primero con un castigo y el segundo con ironía, para que el público quede contento con el extraviado (y para siempre) final feliz. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Ufa con el sexo, </i></b><span style=\"font-weight: 400;\">la historia es bien sencilla: Juan, un joven de familia “bien”, es decir con educación, dinero y poder adquisitivo por encima de la media, conoce a Evangelina y queda fascinado por ella, quizás porque ella no le presta mucha atención, y él la ve como un mero desafío, la chica que lee Simone de Beauvoir. Sucede algo similar en </span><b><i>Prisioneros de la noche. </i></b><span style=\"font-weight: 400;\">Martín conoce a Elsa en una subasta pueblerina y también queda deslumbrado por ella, quizás porque ella le recrimina la naturaleza de su trabajo sin timidez alguna o tal vez por su apariencia física remarcada por un paneo de arriba abajo. A raíz de dichos encuentros, ambos hombres harán lo imposible por pasar tiempo con estas mujeres, sea durante una noche o para siempre. </span></p>\n<p><span style=\"font-weight: 400;\">Para sorpresa de Juan, Evangelina es una prostituta. Su tiempo tiene una tarifa y su día una agenda, manejada con rigurosidad por su madre. Por suerte, Juan, siendo un hombre pudiente, puede reservar los turnos que quiera. Por su parte, Elsa es una bailarina de la academia. Su tiempo también tiene una tarifa y su día a día una agenda igual de apretada. Martín, un peón del mercado, se escapa de su trabajo a sabiendas de las consecuencias de sus acciones. Primera disparidad: para Martín, una jornada de trabajo equivale a no tener qué comer ni con qué pagar su alquiler mientras que para Juan, todo se soluciona con una llamada a sus padres. Y es aquí es donde la trama adquiere complejidad y se diversifica un poco, pero sin perder de vista aquella idea inicial ya mencionada. </span></p>\n<p><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">exclama a viva voz que la mujer es un objeto, una pieza fundamental para la vida de todos los hombres que a la vez es hermosa, lo mejor que existe. Con un lenguaje propio de documentales, como el registro del movimiento de personas en la ciudad, el uso y abuso de </span><i><span style=\"font-weight: 400;\">zoom ins</span></i><span style=\"font-weight: 400;\">, o una amena voz en off que postula cada idea con veracidad científica, una supuesta reportera irrumpe a una pareja desnuda en la cama. El hombre, Juan, confiesa que le encantan las mujeres y la mujer, sonriente, afirma que le encanta ser un objeto. La sátira es evidente, pero supone constatar problemas sociales de gran magnitud. Si la mujer es un bien material, noción consensuada y perpetuada por la sociedad machista, no es sorpresa entonces que su condición de tal desemboque en comportamientos posesivos, y éstos a su vez, en celos. Juan se inquieta cuando un cliente reserva doble turno con Evangelina, de la misma manera en que Martín insiste en saber la naturaleza de los amigos que frecuentan la academia y los temas de conversación que estos desconocidos entablan con Elsa, como si la prostitución o mera compañía de danza fuera una amenaza para ellos.</span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Prisioneros de la noche </i></b><span style=\"font-weight: 400;\">el humor mordaz da lugar a un drama, donde el acoso de un tercero enigmático se entromete en la relación de los amantes y es un impedimento más en la búsqueda infinita de un espacio íntimo. Martín y Elsa, errantes de la noche, recorren los linderos de la oscuridad bajo el titileo de las luces de neón que revelan espacios deslucidos abarrotados de belleza. Ambas historias describen un viaje, con la promesa última de una conquista y la subsecuente salvación de las mujeres. Juan y Martín son héroes de capa y espada, una mezcla de príncipe medieval cristiano con la rudeza de los detectives del cine negro. Para ellos, las mujeres pertenecen al hogar y si no lo están, es responsabilidad suya que dejen de vender sus cuerpos sin importar si en verdad ellas clamaban socorro. Evangelina duda si comprometerse con Juan por temor a caer en el aburrimiento y Elsa procura sin éxito evitar el encuentro de Martín con el hombre que la persigue. </span></p>\n<p><span style=\"font-weight: 400;\">En contrapartida a este heroísmo masculino gratuito, </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">se burla de la hipotética hombría que tanto se jacta su galán, o más bien de lo que él cree que significa dicha virilidad. Cuando Juan sube a la pieza de Evangelina, una serie de planos cerrados describe las preliminares al acto sexual, como el cierre del vestido de ella, o alguna prenda que se desprende. Sin previo aviso, hay un corte al auto de Juan, el detalle del tablero donde la flecha de revoluciones sale disparada, la palanca de cambios del vehículo en un encuadre bien fálico y la flecha que indica la presión del aceite que también dispara hacia arriba. En tres planos, y en no más de cinco segundos, la excitación efímera del hombre culmina con una actitud de conquista suya y de puro aburrimiento de ella. </span></p>\n<p><span style=\"font-weight: 400;\">En ambas películas, el comportamiento controlador se soluciona de una manera muy sencilla, el matrimonio o la idea de un compromiso. Tras un arduo proceso de tasación y negociaciones entre las partes interesadas, Juan compra a Evangelina, y, por su parte, luego de golpes y amenazas verbales, Martín promete buscar una pieza para vivir con Elsa, ambos hombres con la cabeza puesta en rescatar a las mujeres que son a sus ojos, sus mujeres. Pero aquí la verdadera amenaza no es el trabajo que ellas hacen, ni el cansancio que esto conlleva, ni la supuesta dignidad perdida, sino la autonomía corporal y económica que podría desestabilizar el núcleo de nuestra sociedad: el matrimonio. </span></p>\n<p><span style=\"font-weight: 400;\">Lastimosamente, aquello no ocurre, pero el final sigue siendo una desdicha. Evangelina adolece la monotonía cotidiana de un matrimonio arreglado, sumado a la normativa de comportamientos y actitudes esperados de una buena esposa. Por su parte, buscando defenderse, Elsa mata al vecino hostigador y acaba yendo a la cárcel. Ambas mujeres acaban ahogadas por la figura de su autodenominado salvador con la pequeña y gran diferencia que para las mujeres burguesas el rescate es una mera transacción con fiesta y torta, y para las mujeres jornaleras idear un futuro que no implique sumisión es impensable. Mejor confesar el crimen, ser mujer, y el doble crimen de Elsa, ser mujer y ser pobre.</span></p>\n<p>Enlaces para ver ambas películas:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=62k7UHglXu4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=62k7UHglXu4\n</div></figure>\n<!-- /wp:core-embed/youtube -->\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=Ggs_ii_L16w\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=Ggs_ii_L16w\n</div></figure>\n<!-- /wp:core-embed/youtube -->\n\n\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Prisioneros de una noche (1962) / Ufa con el sexo (1968)','','publish','open','open','','prisioneros-de-una-noche-1962-ufa-con-el-sexo-1968','','','2020-10-13 15:35:35','2020-10-13 18:35:35','',0,'http://lapistoladechejov.com/?p=1276',0,'post','',0),(1277,2,'2020-07-17 15:13:30','2020-07-17 19:13:30','Prisioneros de una noche','prisioneros','','inherit','open','closed','','prisioneros','','','2020-07-17 15:13:50','2020-07-17 19:13:50','',1276,'http://lapistoladechejov.com/wp-content/uploads/2020/07/prisioneros.jpg',0,'attachment','image/jpeg',0),(1249,2,'2020-06-11 14:23:12','2020-06-11 18:23:12',' ','','','publish','closed','closed','','1249','','','2020-06-11 14:23:12','2020-06-11 18:23:12','',0,'http://lapistoladechejov.com/2020/06/11/1249/',3,'nav_menu_item','',0),(1359,2,'2020-10-13 15:37:21','2020-10-13 18:37:21','<span style=\"font-weight: 400;\">Director, productor y actor de sus películas, es innegable que Clint Eastwood es un autor de cine, una especie de Woody Allen regurgitado por la aridez del oeste con una pizca de la inexpresividad desafiante de Arnold Schwarzenegger. Habiendo pasado dos noches con él, luego de años de indiferencia hacia su carrera, me doy cuenta que Clint es más que eso. Y aún no sé si en el buen sentido. </span>\n\n<span style=\"font-weight: 400;\">Clint es un hombre de familia, el hombre de familia. Protector, defensor o líder de la manada, como queramos llamarle. Como tal, su motivación principal es proveer sustento económico. Quizás sea por esto que sus propios hijos encarnan los roles de sus hijos en pantalla, no lo sé. Lo cierto es que a pesar de esto, los “Clints” de Clint, llámense Earl o Walt, carecen de una relación afectiva con su familia, o los ha dejado de lado, o con el tiempo se han vuelto desconocidos, lo que se traduce en relaciones truncadas cargadas de resentimiento. Ya volveremos a esto. </span>\n\n<span style=\"font-weight: 400;\">Clint es un veterano de la guerra de Corea. No es ajeno a la violencia, sabe lo que es matar a un hombre y a sus ochenta y tanto años, aún carga estoicamente con el trauma de su pasado. Pero no se opone al conflicto violento, de hecho, lo atrae. O lo busca. O lo evade a medias, porque pandilleros y narcotraficantes armados anticipan hostilidad. </span>\n\n<span style=\"font-weight: 400;\">Clint es xenofóbico, y no lo oculta. No solo se rodea de personajes asiáticos, mexicanos y afroamericanos a los cuales insulta cada tres palabras sin consecuencia alguna sino también incluye escenas que se ocupan solamente de mostrar cómo la incomodidad que que les genera su presencia. Pero Clint es el prototipo del buen hombre norteamericano. El que se baja del coche para ayudar a una familia negra con una rueda pinchada como sucede en </span><i><span style=\"font-weight: 400;\">La Mula, </span></i><span style=\"font-weight: 400;\">pero que no puede evitar remarcar la diferencia racial. El que en su carácter de justiciero pone bajo evidencia los prejuicios de la policía norteamericana cuando estos detienen a un hombre de tez oscura y bigote al volante de una camioneta del año. Y no, ese hombre no era narco. Pero el amigo latino del futuro esposo de su hija, sí, el que le consigue el trabajo de mula. ¿O me equivoco, Clint?</span>\n\n<span style=\"font-weight: 400;\">Además de xenofóbico, Clint es racista. En</span><i><span style=\"font-weight: 400;\"> Gran Torino</span></i><span style=\"font-weight: 400;\"> lo que le molesta es cómo un grupo de pandilleros asiáticos violentan a “uno de los suyos”, no el crimen en sí. No le incomoda sentarse a comer con dos mexicanos, o</span><i><span style=\"font-weight: 400;\"> beaners</span></i><span style=\"font-weight: 400;\"> usando sus palabras, siempre y cuando la mirada de los curiosos sea para ellos y no para él. Políticamente correcto no existe en su vocabulario, y lo admite a viva voz.</span>\n\n<span style=\"font-weight: 400;\">Clint es machista. Le dedica una secuencia extensa a un desfile de nalgas en tanga donde los rostros de las mujeres se reducen a senos y traseros. ¡Vaya plano americano! Deberíamos ponerle un nombre nuevo, plano americana, la </span><i><span style=\"font-weight: 400;\">Mujer sin nombre</span></i><span style=\"font-weight: 400;\"> de nuestro siglo. Pero Clint es también seductor. Su andar avejentado y balbuceo monosilábico es irresistible a mujeres de un cuarto de su edad. Cuando eso no funciona, recurre a su humor seductor. Porque Clint es un galán. Sus esposas le juran devoción eterna. El único hombre de sus vidas. Una especie de caballero, pero en celos. E impotente. Quizás sea un chiste, no lo sé. </span>\n\n<span style=\"font-weight: 400;\">Clint es de color caqui y sus variantes. Cincuenta sombras de caqui, entre el beige labrador y el verde militar, porque estuvo en Corea, ¿se acuerdan?. Esa paleta desaturada es una norma en su fotografía, así como la presencia mandatoria de la bandera norteamericana, o el diseño de sus afiches con fondos oscuros y siluetas en alto contraste. Un poco de </span><i><span style=\"font-weight: 400;\">Unforgiven</span></i><span style=\"font-weight: 400;\">. </span>\n\n<span style=\"font-weight: 400;\">Y hablando de pistoleros, Clint considera que los hombres de verdad son rudos, saben cambiar la rueda de un auto y beben cerveza como agua. Los hombres de Clint se hablan entre insultos y quejas sobre sus esposas, pero eso está bien porque al final del día son ellos los que traen el pan a la casa. De la misma manera, un hombre que se pinta las uñas es una oportunidad para infiltrarse en el Cartel, porque ese hombre de seguro es homosexual, una debilidad que un hombre tan “viril” como Bradley Cooper sabrá aprovechar. Y Clint también, para la historia. </span>\n\n<span style=\"font-weight: 400;\">Clint no es religioso, pero tiene una afinidad por los funerales. Quizás crea en la muerte así como cree en la inmolación como único camino de hacer el bien y alcanzar la redención de sus protagonistas. ¡Qué heroico de tu parte! Aquella sensación de disgusto que un principio generaba a su parentela queda olvidada cuando va a la cárcel; al fin y al cabo, estaba tratando de ayudar a su familia. De nuevo, una insistencia sobre los valores familiares tradicionales: lealtad y unión.</span>\n\n<span style=\"font-weight: 400;\">Porque Clint es un romántico. A sus panorámicas finales y desenlaces lacrimógenos donde queda entredicho que el viaje del protagonista valió la pena, le acompaña una melodía melosa compuesta por él nada más y nada menos, variantes sobre la composición instrumental de </span><i><span style=\"font-weight: 400;\">Million Dollar Baby</span></i><span style=\"font-weight: 400;\"> que le valió una nominación a un Grammy. </span>\n\n<span style=\"font-weight: 400;\">Clint es anticuado. La tecnología es el demonio mayor seguido de la pérdida de valores medievales como la galantería, el honor y el respeto a los mayores. Porque Clint es un anciano. Los personajes que le rodean le tratan de menos por su edad, y él se refugia en esta supuesta fragilidad. Pasa inadvertido, hasta que abre la boca, o enciende un cigarrillo.</span>\n\n<span style=\"font-weight: 400;\">Y por último, Clint es transparente. Un libro abierto. Un viejo libro abierto, sin dibujos. Es insistente. Parece contar lo mismo de las mismas maneras, como la mandatoria película de terror en la cartelera local. El inocente vuelto culpable, el inocente culpable que nunca lastimó a nadie, el inocente que se entromete en riñas ajenas, el inocente absuelto… </span>\n\n<span style=\"font-weight: 400;\">Pero hay que darle lo suyo. Para ser un hombre de pocas palabras, Clint no oculta sus creencias en su cine sino deja a criterio de cada uno tolerarlo o no. Intenta ser razonable, pero es obvio que no le gusta. Porque Clint es el abuelo cascarrabias que se queja de todo pero al que no vale la pena decirle nada porque ya no cambiará. </span>\n\n<span style=\"font-weight: 400;\">No sé si nos volveremos a encontrar en los créditos sobre la imagen, así que por de pronto, hasta la próxima, Clint.</span>','Dos noches con Clint Eastwood','','inherit','closed','closed','','1245-revision-v1','','','2020-10-13 15:37:21','2020-10-13 18:37:21','',1245,'http://lapistoladechejov.com/2020/10/13/1245-revision-v1/',0,'revision','',0),(1250,2,'2020-06-11 14:28:46','2020-06-11 18:28:46','<span style=\"font-weight: 400;\">Director, productor y actor de sus películas, es innegable que Clint Eastwood es un autor de cine, una especie de Woody Allen regurgitado por la aridez del oeste con una pizca de la inexpresividad desafiante de Arnold Schwarzenegger. Habiendo pasado dos noches con él, luego de años de indiferencia hacia su carrera, me doy cuenta que Clint es más que eso. Y aún no sé si en el buen sentido. </span>\n\n<span style=\"font-weight: 400;\">Clint es un hombre de familia, el hombre de familia. Protector, defensor o líder de la manada, como queramos llamarle. Como tal, su motivación principal es proveer sustento económico. Quizás sea por esto que sus propios hijos encarnan los roles de sus hijos en pantalla, no lo sé. Lo cierto es que a pesar de esto, los “Clints” de Clint, llámense Earl o Walt, carecen de una relación afectiva con su familia, o los ha dejado de lado, o con el tiempo se han vuelto desconocidos, lo que se traduce en relaciones truncadas cargadas de resentimiento. Ya volveremos a esto. </span>\n\n<span style=\"font-weight: 400;\">Clint es un veterano de la guerra de Corea. No es ajeno a la violencia, sabe lo que es matar a un hombre y a sus ochenta y tanto años, aún carga estoicamente con el trauma de su pasado. Pero no se opone al conflicto violento, de hecho, lo atrae. O lo busca. O lo evade a medias, porque pandilleros y narcotraficantes armados anticipan hostilidad. </span>\n\n<span style=\"font-weight: 400;\">Clint es xenofóbico, y no lo oculta. No solo se rodea de personajes asiáticos, mexicanos y afroamericanos a los cuales insulta cada tres palabras sin consecuencia alguna sino también incluye escenas que se ocupan solamente de mostrar cómo la incomodidad que que les genera su presencia. Pero Clint es el prototipo del buen hombre norteamericano. El que se baja del coche para ayudar a una familia negra con una rueda pinchada como sucede en </span><i><span style=\"font-weight: 400;\">La Mula, </span></i><span style=\"font-weight: 400;\">pero que no puede evitar remarcar la diferencia racial. El que en su carácter de justiciero pone bajo evidencia los prejuicios de la policía norteamericana cuando estos detienen a un hombre de tez oscura y bigote al volante de una camioneta del año. Y no, ese hombre no era narco. Pero el amigo latino del futuro esposo de su hija, sí, el que le consigue el trabajo de mula. ¿O me equivoco, Clint?</span>\n\n<span style=\"font-weight: 400;\">Además de xenofóbico, Clint es racista. En</span><i><span style=\"font-weight: 400;\"> Gran Torino</span></i><span style=\"font-weight: 400;\"> lo que le molesta es cómo un grupo de pandilleros asiáticos violentan a “uno de los suyos”, no el crimen en sí. No le incomoda sentarse a comer con dos mexicanos, o</span><i><span style=\"font-weight: 400;\"> beaners</span></i><span style=\"font-weight: 400;\"> usando sus palabras, siempre y cuando la mirada de los curiosos sea para ellos y no para él. Políticamente correcto no existe en su vocabulario, y lo admite a viva voz.</span>\n\n<span style=\"font-weight: 400;\">Clint es machista. Le dedica una secuencia extensa a un desfile de nalgas en tanga donde los rostros de las mujeres se reducen a senos y traseros. ¡Vaya plano americano! Deberíamos ponerle un nombre nuevo, plano americana, la </span><i><span style=\"font-weight: 400;\">Mujer sin nombre</span></i><span style=\"font-weight: 400;\"> de nuestro siglo. Pero Clint es también seductor. Su andar avejentado y balbuceo monosilábico es irresistible a mujeres de un cuarto de su edad. Cuando eso no funciona, recurre a su humor seductor. Porque Clint es un galán. Sus esposas le juran devoción eterna. El único hombre de sus vidas. Una especie de caballero, pero en celos. E impotente. Quizás sea un chiste, no lo sé. </span>\n\n<span style=\"font-weight: 400;\">Clint es de color caqui y sus variantes. Cincuenta sombras de caqui, entre el beige labrador y el verde militar, porque estuvo en Corea, ¿se acuerdan?. Esa paleta desaturada es una norma en su fotografía, así como la presencia mandatoria de la bandera norteamericana, o el diseño de sus afiches con fondos oscuros y siluetas en alto contraste. Un poco de </span><i><span style=\"font-weight: 400;\">Unforgiven</span></i><span style=\"font-weight: 400;\">. </span>\n\n<span style=\"font-weight: 400;\">Y hablando de pistoleros, Clint considera que los hombres de verdad son rudos, saben cambiar la rueda de un auto y beben cerveza como agua. Los hombres de Clint se hablan entre insultos y quejas sobre sus esposas, pero eso está bien porque al final del día son ellos los que traen el pan a la casa. De la misma manera, un hombre que se pinta las uñas es una oportunidad para infiltrarse en el Cartel, porque ese hombre de seguro es homosexual, una debilidad que un hombre tan “viril” como Bradley Cooper sabrá aprovechar. Y Clint también, para la historia. </span>\n\n<span style=\"font-weight: 400;\">Clint no es religioso, pero tiene una afinidad por los funerales. Quizás crea en la muerte así como cree en la inmolación como único camino de hacer el bien y alcanzar la redención de sus protagonistas. ¡Qué heroico de tu parte! Aquella sensación de disgusto que un principio generaba a su parentela queda olvidada cuando va a la cárcel; al fin y al cabo, estaba tratando de ayudar a su familia. De nuevo, una insistencia sobre los valores familiares tradicionales: lealtad y unión.</span>\n\n<span style=\"font-weight: 400;\">Porque Clint es un romántico. A sus panorámicas finales y desenlaces lacrimógenos donde queda entredicho que el viaje del protagonista valió la pena, le acompaña una melodía melosa compuesta por él nada más y nada menos, variantes sobre la composición instrumental de </span><i><span style=\"font-weight: 400;\">Million Dollar Baby</span></i><span style=\"font-weight: 400;\"> que le valió una nominación a un Grammy. </span>\n\n<span style=\"font-weight: 400;\">Clint es anticuado. La tecnología es el demonio mayor seguido de la pérdida de valores medievales como la galantería, el honor y el respeto a los mayores. Porque Clint es un anciano. Los personajes que le rodean le tratan de menos por su edad, y él se refugia en esta supuesta fragilidad. Pasa inadvertido, hasta que abre la boca, o enciende un cigarrillo.</span>\n\n<span style=\"font-weight: 400;\">Y por último, Clint es transparente. Un libro abierto. Un viejo libro abierto, sin dibujos. Es insistente. Parece contar lo mismo de las mismas maneras, como la mandatoria película de terror en la cartelera local. El inocente vuelto culpable, el inocente culpable que nunca lastimó a nadie, el inocente que se entromete en riñas ajenas, el inocente absuelto… </span>\n\n<span style=\"font-weight: 400;\">Pero hay que darle lo suyo. Para ser un hombre de pocas palabras, Clint no oculta sus creencias en su cine sino deja a criterio de cada uno tolerarlo o no. Intenta ser razonable, pero es obvio que no le gusta. Porque Clint es el abuelo cascarrabias que se queja de todo pero al que no vale la pena decirle nada porque ya no cambiará. </span>\n\n<span style=\"font-weight: 400;\">No sé si nos volveremos a encontrar en los créditos sobre la imagen, así que por de pronto, hasta la próxima, Clint.</span>\n<h6><span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span></h6>','Dos noches con Clint Eastwood','','inherit','closed','closed','','1245-revision-v1','','','2020-06-11 14:28:46','2020-06-11 18:28:46','',1245,'http://lapistoladechejov.com/2020/06/11/1245-revision-v1/',0,'revision','',0),(1251,2,'2020-06-18 12:23:04','2020-06-18 16:23:04','<p><i><span style=\"font-weight: 400;\">Gonzalo Díaz Oyola. Chile. 2019</span></i></p>\n<p><span style=\"font-weight: 400;\">Sobre un telón blanco con la bandera de Chile se fondo se presentan 3 candidatos políticos para presidente, cada uno con un historial distinto y una corriente política contrapuesta: la derecha conservadora, la engañosa centro izquierda y la utópica ruptura o “cambio”, si se quiere y entre comillas, que dice no ajustarse ni a lo uno ni a lo otro. Estos tres rostros, con su palabras empalagosas y sonrisas hipócritas desdibujan con ironía la crisis política chilena y latinoamericana, convulsionada por los conflictos de lucha de poder y el constante pisoteo a las clases vulnerables. </span></p>\n<p><b><i>Hasta ahora nuestra política funciona </i></b><span style=\"font-weight: 400;\">conjuga los discursos políticos acartonados y dirigidos a cámara con imágenes de registro documental de las calles chilenas, donde bajo la máscara de crecimiento y desarrollo yace una población empobrecida y olvidada. La entonación melódica que dirige las palabras enunciadas se quiebran con los ruidos estridente de explosiones y disparos, así como las convulsiones sociales históricas y conflictos armados bélicos invaden con violencia las disertaciones. Al hacerlo, se desenmascaran las infinitas promesas repetidas que tanto nos hemos acostumbrado a escuchar de boca de los políticos de turno: voluntad política, educación, salud y trabajo. Por otra parte, a medida que las palabras incrementan su fervor, como si la única manera que tienen estos candidatos de remarcar una postura sea la intensidad, un montaje frenético salpica con mordacidad ilustraciones que describen el sistema político dominante y sus consecuencias: el sometimiento económico e ideológico al capitalismo global. </span></p>\n<p><span style=\"font-weight: 400;\">Sangre y violencia, ficción y realidad, demuestran la imposibilidad de hallar un sistema político ideal, así como la audacia del relato consciente de sí mismo se enfrenta a lo inevitable y lo anuncia en medio del caos en una secuencia final donde traza la diferencia entre ellos, los políticos, y nosotros. ¿Hasta cuándo funcionará nuestra política?</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/395053154\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/395053154\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Hasta ahora nuestra política funciona (2019)','','publish','open','open','','hasta-ahora-nuestra-politica-funciona-2019','','\nhttps://vimeo.com/395053154','2020-06-18 12:37:02','2020-06-18 16:37:02','',0,'http://lapistoladechejov.com/?p=1251',0,'post','',0),(1252,2,'2020-06-18 12:22:00','2020-06-18 16:22:00','<iframe title=\"HANPF ENGLISH SUBTITLES\" src=\"https://player.vimeo.com/video/395053154?dnt=1&app_id=122963\" width=\"1200\" height=\"900\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen></iframe>','','','publish','closed','closed','','560b4561d78e648c2009567dfeb45d0c','','','2020-06-18 12:22:00','2020-06-18 16:22:00','',0,'http://lapistoladechejov.com/2020/06/18/560b4561d78e648c2009567dfeb45d0c/',0,'oembed_cache','',0),(1253,2,'2020-06-18 12:22:16','2020-06-18 16:22:16','','Hasta ahora','','inherit','open','closed','','hasta-ahora','','','2020-06-18 12:22:33','2020-06-18 16:22:33','',1251,'http://lapistoladechejov.com/wp-content/uploads/2020/06/Hasta-ahora.png',0,'attachment','image/png',0),(1254,2,'2020-06-18 12:22:39','2020-06-18 16:22:39','<p><i><span style=\"font-weight: 400;\">Gonzalo Díaz Oyola. Chile. 2019</span></i></p>\n<p><span style=\"font-weight: 400;\">Sobre un telón blanco con la bandera de Chile se fondo se presentan 3 candidatos políticos para presidente, cada uno con un historial distinto y una corriente política contrapuesta: la derecha conservadora, la engañosa centro izquierda y la utópica ruptura o “cambio”, si se quiere y entre comillas, que dice no ajustarse ni a lo uno ni a lo otro. Estos tres rostros, con su palabras empalagosas y sonrisas hipócritas desdibujan con ironía la crisis política chilena y latinoamericana, convulsionada por los conflictos de lucha de poder y el constante pisoteo a las clases vulnerables. </span></p>\n<p><b><i>Hasta ahora nuestra política funciona </i></b><span style=\"font-weight: 400;\">conjuga los discursos políticos acartonados y dirigidos a cámara con imágenes de registro documental de las calles chilenas, donde bajo la máscara de crecimiento y desarrollo yace una población empobrecida y olvidada. La entonación melódica que dirige las palabras enunciadas se quiebran con los ruidos estridente de explosiones y disparos, así como las convulsiones sociales históricas y conflictos armados bélicos invaden con violencia las disertaciones. Al hacerlo, se desenmascaran las infinitas promesas repetidas que tanto nos hemos acostumbrado a escuchar de boca de los políticos de turno: voluntad política, educación, salud y trabajo. Por otra parte, a medida que las palabras incrementan su fervor, como si la única manera que tienen estos candidatos de remarcar una postura sea la intensidad, un montaje frenético salpica con mordacidad ilustraciones que describen el sistema político dominante y sus consecuencias: el sometimiento económico e ideológico al capitalismo global. </span></p>\n<p><span style=\"font-weight: 400;\">Sangre y violencia, ficción y realidad, demuestran la imposibilidad de hallar un sistema político ideal, así como la audacia del relato consciente de sí mismo se enfrenta a lo inevitable y lo anuncia en medio del caos en una secuencia final donde traza la diferencia entre ellos, los políticos, y nosotros. ¿Hasta cuándo funcionará nuestra política?</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/395053154\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/395053154\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Hasta ahora nuestra política funciona (2019)','','inherit','closed','closed','','1251-revision-v1','','','2020-06-18 12:22:39','2020-06-18 16:22:39','',1251,'http://lapistoladechejov.com/2020/06/18/1251-revision-v1/',0,'revision','',0),(1255,2,'2020-06-18 12:46:09','2020-06-18 16:46:09','<em>James N. Kienitz Wilkins. Estados Unidos.</em>\n\nBerlin es una ciudad estadounidense ubicada en el estado de Nuevo Hampshire al que el narrador admite nunca haber ido, pero por su carácter de típica ciudad norteamericana con ríos y montañas quizás sea el escenario perfecto para un relato de intrigas y asesinatos. ¿O no? <em><strong>Indefinite Pitch</strong></em>, tal como su nombre lo indica, es un pitch catalítico, donde bajo la excusa de presentar a un proyecto, emerge una confesión narrada casi como si fuera una carta escrita de manera automática.\n\nAquí, una idea conduce a otra. De la ciudad, a la región franco canadiense que limita con los Estados Unidos, a la alarmante circulación de heroína que hoy acosa a la “Ciudad construida por los Árboles” (en referencia a la fábrica de papel), una voz en off confiesa su fascinación con el lugar pero a la vez revela una incapacidad de ignorar su propio origen, el encanto hacia el calor del fuego, o la presencia del río que lindaba con su ciudad natal, y que, irónicamente, no es Berlin. El testimonio del director hila entre los puntos comunes de las diversas anécdotas que cuenta, sea el fuego, el aceite inflamable despedido por las fábricas, o la misma contaminación del río, para indagar sus recuerdos y cuestionar lo que yace bajo las aguas congeladas pero que existe y hace ruido igual: las enfermedades mentales, la prisión, y el rebrote de grupos supremacistas blancos.\n\nSobre una serie de fotografías en blanco y negro del río Androscoggin, y una imagen aparentemente estática, la voz navega sus recuerdos en constante movimiento, sin detenerse sobre nada, y dejándose llevar por el hilo de su pensamiento. Pero en <em><strong>Indefinite Pitch</strong></em> esta voz no es la misma sino va mutando a lo largo del cortometraje. Al comienzo, el tono más grave proyecta una aparente confianza, mientras que a medida que avanza la confesión se va despojando de las máscaras de carne y hueso de las que él mismo habla, y exhibe en su timbre particular y lenguaje, una fragilidad dubitativa ¿Estuvo bueno el pitch? ¿Irá esta película a un festival? Y si es así, ¿cuál?\n\n<i>Parte de la selección del festival WE ARE ONE 2020</i>\n\n(Esta crítica se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/\">Taller de Crítica de Otros Cines</a>)','Indefinite Pitch (2016)','','publish','open','open','','indefinite-pitch-2016','','','2020-06-18 12:46:13','2020-06-18 16:46:13','',0,'http://lapistoladechejov.com/?p=1255',0,'post','',0),(1256,2,'2020-06-18 12:35:20','2020-06-18 16:35:20','indefinite pitch','indefinite pitch','','inherit','open','closed','','indefinite-pitch','','','2020-06-18 12:35:32','2020-06-18 16:35:32','',1255,'http://lapistoladechejov.com/wp-content/uploads/2020/06/indefinite-pitch.jpg',0,'attachment','image/jpeg',0),(1257,2,'2020-06-18 12:36:57','2020-06-18 16:36:57','<p><i><span style=\"font-weight: 400;\">Gonzalo Díaz Oyola. Chile. 2019</span></i></p>\n<p><span style=\"font-weight: 400;\">Sobre un telón blanco con la bandera de Chile se fondo se presentan 3 candidatos políticos para presidente, cada uno con un historial distinto y una corriente política contrapuesta: la derecha conservadora, la engañosa centro izquierda y la utópica ruptura o “cambio”, si se quiere y entre comillas, que dice no ajustarse ni a lo uno ni a lo otro. Estos tres rostros, con su palabras empalagosas y sonrisas hipócritas desdibujan con ironía la crisis política chilena y latinoamericana, convulsionada por los conflictos de lucha de poder y el constante pisoteo a las clases vulnerables. </span></p>\n<p><b><i>Hasta ahora nuestra política funciona </i></b><span style=\"font-weight: 400;\">conjuga los discursos políticos acartonados y dirigidos a cámara con imágenes de registro documental de las calles chilenas, donde bajo la máscara de crecimiento y desarrollo yace una población empobrecida y olvidada. La entonación melódica que dirige las palabras enunciadas se quiebran con los ruidos estridente de explosiones y disparos, así como las convulsiones sociales históricas y conflictos armados bélicos invaden con violencia las disertaciones. Al hacerlo, se desenmascaran las infinitas promesas repetidas que tanto nos hemos acostumbrado a escuchar de boca de los políticos de turno: voluntad política, educación, salud y trabajo. Por otra parte, a medida que las palabras incrementan su fervor, como si la única manera que tienen estos candidatos de remarcar una postura sea la intensidad, un montaje frenético salpica con mordacidad ilustraciones que describen el sistema político dominante y sus consecuencias: el sometimiento económico e ideológico al capitalismo global. </span></p>\n<p><span style=\"font-weight: 400;\">Sangre y violencia, ficción y realidad, demuestran la imposibilidad de hallar un sistema político ideal, así como la audacia del relato consciente de sí mismo se enfrenta a lo inevitable y lo anuncia en medio del caos en una secuencia final donde traza la diferencia entre ellos, los políticos, y nosotros. ¿Hasta cuándo funcionará nuestra política?</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/395053154\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/395053154\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Hasta ahora nuestra política funciona (2019)','','inherit','closed','closed','','1251-revision-v1','','','2020-06-18 12:36:57','2020-06-18 16:36:57','',1251,'http://lapistoladechejov.com/2020/06/18/1251-revision-v1/',0,'revision','',0),(1258,2,'2020-06-18 12:46:35','2020-06-18 16:46:35','<em>Nuno Miranda. Cabo Verde. 2020</em>\n\nLa Isla de São Vicente, perteneciente al archipiélago de Cabo Verde, se despliega en su esplendor en <strong>Kmêdeus</strong>, de Nuno Miranda. Inspirado en un baile performático de António Tavares, el documental indaga en las costumbres y el modo de vida de los habitantes de la isla, donde arte y locura nutren la cultura de la ciudad de Mindelo.\n\nSobre el imponente Monte Verde el alarido de un hombre que grita Kmêdeus retumba en la llanura rocosa. Aquí, el viento es tan fuerte que es imposible oír a todo aquello que se encuentre a tan solo cinco metros de distancia de uno mismo. Esta idea, de un lugar encapsulado, resguardado quizás, donde no se oye más que las voces de sus habitantes persiste a lo largo de la película. La utilización del gran angular en las entrevistas registradas abarca en un mismo plano a los entrevistados y su entorno, sin discriminar a uno del otro, ni pretender un orden de valor entre los mismos. Aquí, el personaje es su entorno, porque es el ambiente el que configura sus comportamientos y actitudes.\n\nLa película se inspira en la figura de un hombre conocido como Kmêdeus, cuya traducción literal significa “El come Dios”. Este personaje, bien conocido por los locales, deambulaba las calles de Mindelo infectando con su humor a donde iba. Al Kmêdeus se lo evoca en presencia a través de los testimonios y relatos, incluso mediante la banda sonora y sus ritmos locales, pero hasta final no se lo ve nunca.\n\nSin embargo, <strong>Kmêdeus</strong> parte del imaginario construido en torno a este hombre para abarcar más allá de las dinámicas de relación entre los residentes, los artistas, y aquellas personas que padecían o padecen de algún impedimento mental; lo que interesa al director son las huellas que permanecen en las paredes, y cómo el pasado y el presente se funden sobre un mismo mural. El símbolo de la cruz de David unida a una cruz cristiana se convierte en un emblema que ilustra la convivencia de mundos antagónicos sobre la tierra, como el idioma que no resulta tan extraño a nuestros oídos porque conjuga el portugués con el africano, o como la máscara en forma de cabeza de un pez utilizado en la performance que une dos especies en una. No es descabellado intuir que en cada uno reside una pequeña dosis de locura.\n\nPor otra parte, la combinación de material de archivo diverso, desde fotografías en blanco y negro a afiches de películas o registro de bailes y tapas de disco, pinta de diversos colores el retrato de un pueblo que padeció las consecuencias de la colonización y la descolonización; hambre, pobreza y esclavitud no son términos desconocidos, más bien disfrazados y sobrellevados bajo la extravagancia de los disfraces de carnaval y el particular sentido del humor. Narrado en tres actos distintos, que se corresponden a las personas y la locura, al cine, el carnaval y la música, y por último a la memoria, <strong>Kmêdeus</strong> afronta lo particular con una lente que engloba las historias de su gente para mirarse a sí mismo y reconocerse frente al espejo.\n\n<i>Parte de la selección del festival WE ARE ONE 2020</i>\n\n(Esta crítica se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/\">Taller de Crítica de Otros Cines</a>)','Kmêdeus (2020)','','publish','open','open','','kmedeus-2020','','','2020-06-18 12:46:39','2020-06-18 16:46:39','',0,'http://lapistoladechejov.com/?p=1258',0,'post','',0),(1259,2,'2020-06-18 12:37:37','2020-06-18 16:37:37','<em>James N. Kienitz Wilkins. Estados Unidos.</em>\n\nBerlin es una ciudad estadounidense ubicada en el estado de Nuevo Hampshire al que el narrador admite nunca haber ido, pero por su carácter de típica ciudad norteamericana con ríos y montañas quizás sea el escenario perfecto para un relato de intrigas y asesinatos. ¿O no? <strong>Indefinite Pitch</strong>, tal como su nombre lo indica, es un pitch catalítico, donde bajo la excusa de presentar a un proyecto, emerge una confesión narrada casi como si fuera una carta escrita de manera automática.\n\nAquí, una idea conduce a otra. De la ciudad, a la región franco canadiense que limita con los Estados Unidos, a la alarmante circulación de heroína que hoy acosa a la “Ciudad construida por los Árboles” (en referencia a la fábrica de papel), una voz en off confiesa su fascinación con el lugar pero a la vez revela una incapacidad de ignorar su propio origen, el encanto hacia el calor del fuego, o la presencia del río que lindaba con su ciudad natal, y que, irónicamente, no es Berlin. El testimonio del director hila entre los puntos comunes de las diversas anécdotas que cuenta, sea el fuego, el aceite inflamable despedido por las fábricas, o la misma contaminación del río, para indagar sus recuerdos y cuestionar lo que yace bajo las aguas congeladas pero que existe y hace ruido igual: las enfermedades mentales, la prisión, y el rebrote de grupos supremacistas blancos.\n\nSobre una serie de fotografías en blanco y negro del río Androscoggin, y una imagen aparentemente estática, la voz navega sus recuerdos en constante movimiento, sin detenerse sobre nada, y dejándose llevar por el hilo de su pensamiento. Pero en <strong>Indefinite Pitch</strong> esta voz no es la misma sino va mutando a lo largo del cortometraje. Al comienzo, el tono más grave proyecta una aparente confianza, mientras que a medida que avanza la confesión se va despojando de las máscaras de carne y hueso de las que él mismo habla, y exhibe en su timbre particular y lenguaje, una fragilidad dubitativa ¿Estuvo bueno el pitch? ¿Irá esta película a un festival? Y si es así, ¿cuál?\n\n<i>Parte de la selección del festival WE ARE ONE 2020</i>\n\n(Esta crítica se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/\">Taller de Crítica de Otros Cines</a>)','Indefinite Pitch (2016)','','inherit','closed','closed','','1255-revision-v1','','','2020-06-18 12:37:37','2020-06-18 16:37:37','',1255,'http://lapistoladechejov.com/2020/06/18/1255-revision-v1/',0,'revision','',0),(1260,2,'2020-06-18 12:39:12','2020-06-18 16:39:12','Kmêdeus','Kmêdeus','','inherit','open','closed','','kme%cc%82deus','','','2020-06-18 12:39:23','2020-06-18 16:39:23','',1258,'http://lapistoladechejov.com/wp-content/uploads/2020/06/Kmêdeus.jpg',0,'attachment','image/jpeg',0),(1261,2,'2020-06-18 12:40:02','2020-06-18 16:40:02','<em>Nuno Miranda. Cabo Verde. 2020</em>\n\nLa Isla de São Vicente, perteneciente al archipiélago de Cabo Verde, se despliega en su esplendor en <strong>Kmêdeus</strong>, de Nuno Miranda. Inspirado en un baile performático de António Tavares, el documental indaga en las costumbres y el modo de vida de los habitantes de la isla, donde arte y locura nutren la cultura de la ciudad de Mindelo.\n\nSobre el imponente Monte Verde el alarido de un hombre que grita Kmêdeus retumba en la llanura rocosa. Aquí, el viento es tan fuerte que es imposible oír a todo aquello que se encuentre a tan solo cinco metros de distancia de uno mismo. Esta idea, de un lugar encapsulado, resguardado quizás, donde no se oye más que las voces de sus habitantes persiste a lo largo de la película. La utilización del gran angular en las entrevistas registradas abarca en un mismo plano a los entrevistados y su entorno, sin discriminar a uno del otro, ni pretender un orden de valor entre los mismos. Aquí, el personaje es su entorno, porque es el ambiente el que configura sus comportamientos y actitudes.\n\nLa película se inspira en la figura de un hombre conocido como Kmêdeus, cuya traducción literal significa “El come Dios”. Este personaje, bien conocido por los locales, deambulaba las calles de Mindelo infectando con su humor a donde iba. Al Kmêdeus se lo evoca en presencia a través de los testimonios y relatos, incluso mediante la banda sonora y sus ritmos locales, pero hasta final no se lo ve nunca.\n\nSin embargo, <strong>Kmêdeus</strong> parte del imaginario construido en torno a este hombre para abarcar más allá de las dinámicas de relación entre los residentes, los artistas, y aquellas personas que padecían o padecen de algún impedimento mental; lo que interesa al director son las huellas que permanecen en las paredes, y cómo el pasado y el presente se funden sobre un mismo mural. El símbolo de la cruz de David unida a una cruz cristiana se convierte en un emblema que ilustra la convivencia de mundos antagónicos sobre la tierra, como el idioma que no resulta tan extraño a nuestros oídos porque conjuga el portugués con el africano, o como la máscara en forma de cabeza de un pez utilizado en la performance que une dos especies en una. No es descabellado intuir que en cada uno reside una pequeña dosis de locura.\n\nPor otra parte, la combinación de material de archivo diverso, desde fotografías en blanco y negro a afiches de películas o registro de bailes y tapas de disco, pinta de diversos colores el retrato de un pueblo que padeció las consecuencias de la colonización y la descolonización; hambre, pobreza y esclavitud no son términos desconocidos, más bien disfrazados y sobrellevados bajo la extravagancia de los disfraces de carnaval y el particular sentido del humor. Narrado en tres actos distintos, que se corresponden a las personas y la locura, al cine, el carnaval y la música, y por último a la memoria, <strong>Kmêdeus</strong> afronta lo particular con una lente que engloba las historias de su gente para mirarse a sí mismo y reconocerse frente al espejo.\n\n<i>Parte de la selección del festival WE ARE ONE 2020</i>\n\n(Esta crítica se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/\">Taller de Crítica de Otros Cines</a>)','Kmêdeus (2020)','','inherit','closed','closed','','1258-revision-v1','','','2020-06-18 12:40:02','2020-06-18 16:40:02','',1258,'http://lapistoladechejov.com/2020/06/18/1258-revision-v1/',0,'revision','',0),(1262,2,'2020-06-18 12:45:29','2020-06-18 16:45:29','<em><strong>En la reciente Berlinale -uno de los pocos festivales que pudieron realizarse con cierta normalidad en este 2020- se concretaron varios encuentros entre cineastas dentro de un ciclo denominado “En transmisión”. Aquí una crónica de esta charla, que ahora se puede ver en el evento online organizado por YouTube.</strong></em>\n\nAportada por la Berlinale, esta conversación entre los franceses Olivier Assayas (<strong>Irma Vep, Finales de agosto, principios de septiembre, Los destinos sentimentales, Demonlover, Clean, Boarding Gate, Las horas del verano, Carlos, El otro lado del éxito, Doubles vies, La Red Avispa</strong>) y Claire Denis (<strong>Nénette et Boni, Bella tarea, Trouble Every Day, Vendredi soir, L’intrus, 35 rhums, White Material, Les salauds,, Un bello sol interior, High Life</strong>) realizada en el marco de la edición pasada de la muestra alemana formó parte del segundo día del festival de festivales <em>We Are One</em>.\n\n“El cine es excitante cuando se intenta hacer algo que nadie nunca antes hizo”, afirma Assayas, una premisa que en cierta manera ha configurado el cine de ambos autores franceses, quienes se abrieron camino al margen de la industria de cine galo o norteamericano inclusive.\n\nEn esta conversación entre Denis y Assayas, de tono un tanto familiar pues ambos directores llevan largos años de amistad y colaboración mutua, se rememora el inicio de sus respectivas carreras y la influencia recíproca que nutrió aquello que Denis denomina “una nueva forma de mirar al cine, de sentir al cine” y una sensación de libertad que se apartaba un poco de la norma que regía el cine francés de dicha época.\n\nLa confianza y el respeto por el trabajo del otro ayudó a paliar la inseguridad que conlleva el proceso de realizar una película. Según Assayas, esta inseguridad es casi como un modo de vivir que viene por añadidura al mismo acto de hacer una película donde uno se deja llevar por la energía que impulsa dicho proceso. Una vez terminada la película, inicia una nueva búsqueda de qué contar y por qué contarlo, porque “nadie necesita un nuevo film tuyo”, admite Assayas con ironía.\n\nPara Denis, por su parte, el dilema no gira en torno a tener coraje o no, porque para ella hacer una película es como cavar un pozo: o lo terminás o no, y si no lo terminás en realidad no sos un director de cine. “No se trata de si te gusta o no (lo que estás filmando), es parte de ti mismo”, añade la realizadora. Un director de cine es una persona que se embarca en la travesía de hacer una película, una persona con miedos y dudas, pero con la particularidad de que en esta odisea sería irrelevante abandonarla a mitad de camino.\n\nAl referirse al cine francés y lo que se entiende por dicho término, Assayas argumenta la influencia de la teoría del autor de cine o la noción del autor de cine como un autor que crea una obra con la misma libertad que un artista o un pintor. La lógica del cine francés se articula por ende sobre la figura de un director poseedor del <em>final cut</em> o corte final, en contraposición a la industria norteamericana donde un director es un empleado dentro de una maquinaria interesada en producir dinero y generar dinero.\n\nDe la misma manera, el cine galo, así como la Nouvelle Vague francesa en su momento, fomenta la posibilidad de hacer películas distintas, raras si se quiere, o “películas que no se parecen a películas” regida por la idea máxima de libertad creativa. Pero la libertad creativa supone tener conciencia sobre los gastos, y la responsabilidad de decidir dónde se gastará lo poco se tiene. Denis añade por último que el término<em> final cut</em> es incluso un concepto norteamericano, siendo que para la producción de cine independiente del resto del mundo y de Francia es lo normal.\n\nUn diálogo breve, que incita a reflexionar sobre el cine y sobre hacer cine como un acto personal y no una actividad lucrativa, y que sucede, por parafrasear a Denis, cuando debe suceder.\n\n<i>Parte de la selección del festival WE ARE ONE 2020</i>\n\n(Esta crónica se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/\">Taller de Crítica de Otros Cines</a>)','Claire Denis en conversación con Olivier Assayas','','publish','open','open','','claire-denis-en-conversacion-con-olivier-assayas','','','2020-06-18 12:45:33','2020-06-18 16:45:33','',0,'http://lapistoladechejov.com/?p=1262',0,'post','',0),(1263,2,'2020-06-18 12:44:39','2020-06-18 16:44:39','claire denis assayas berlinale','claire denis assayas berlinale','','inherit','open','closed','','claire-denis-assayas-berlinale','','','2020-06-18 12:44:59','2020-06-18 16:44:59','',1262,'http://lapistoladechejov.com/wp-content/uploads/2020/06/claire-denis-assayas-berlinale.jpg',0,'attachment','image/jpeg',0),(1264,2,'2020-06-18 12:45:06','2020-06-18 16:45:06','<em><strong>En la reciente Berlinale -uno de los pocos festivales que pudieron realizarse con cierta normalidad en este 2020- se concretaron varios encuentros entre cineastas dentro de un ciclo denominado “En transmisión”. Aquí una crónica de esta charla, que ahora se puede ver en el evento online organizado por YouTube.</strong></em>\n\nAportada por la Berlinale, esta conversación entre los franceses Olivier Assayas (<strong>Irma Vep, Finales de agosto, principios de septiembre, Los destinos sentimentales, Demonlover, Clean, Boarding Gate, Las horas del verano, Carlos, El otro lado del éxito, Doubles vies, La Red Avispa</strong>) y Claire Denis (<strong>Nénette et Boni, Bella tarea, Trouble Every Day, Vendredi soir, L’intrus, 35 rhums, White Material, Les salauds,, Un bello sol interior, High Life</strong>) realizada en el marco de la edición pasada de la muestra alemana formó parte del segundo día del festival de festivales <em>We Are One</em>.\n\n“El cine es excitante cuando se intenta hacer algo que nadie nunca antes hizo”, afirma Assayas, una premisa que en cierta manera ha configurado el cine de ambos autores franceses, quienes se abrieron camino al margen de la industria de cine galo o norteamericano inclusive.\n\nEn esta conversación entre Denis y Assayas, de tono un tanto familiar pues ambos directores llevan largos años de amistad y colaboración mutua, se rememora el inicio de sus respectivas carreras y la influencia recíproca que nutrió aquello que Denis denomina “una nueva forma de mirar al cine, de sentir al cine” y una sensación de libertad que se apartaba un poco de la norma que regía el cine francés de dicha época.\n\nLa confianza y el respeto por el trabajo del otro ayudó a paliar la inseguridad que conlleva el proceso de realizar una película. Según Assayas, esta inseguridad es casi como un modo de vivir que viene por añadidura al mismo acto de hacer una película donde uno se deja llevar por la energía que impulsa dicho proceso. Una vez terminada la película, inicia una nueva búsqueda de qué contar y por qué contarlo, porque “nadie necesita un nuevo film tuyo”, admite Assayas con ironía.\n\nPara Denis, por su parte, el dilema no gira en torno a tener coraje o no, porque para ella hacer una película es como cavar un pozo: o lo terminás o no, y si no lo terminás en realidad no sos un director de cine. “No se trata de si te gusta o no (lo que estás filmando), es parte de ti mismo”, añade la realizadora. Un director de cine es una persona que se embarca en la travesía de hacer una película, una persona con miedos y dudas, pero con la particularidad de que en esta odisea sería irrelevante abandonarla a mitad de camino.\n\nAl referirse al cine francés y lo que se entiende por dicho término, Assayas argumenta la influencia de la teoría del autor de cine o la noción del autor de cine como un autor que crea una obra con la misma libertad que un artista o un pintor. La lógica del cine francés se articula por ende sobre la figura de un director poseedor del <em>final cut</em> o corte final, en contraposición a la industria norteamericana donde un director es un empleado dentro de una maquinaria interesada en producir dinero y generar dinero.\n\nDe la misma manera, el cine galo, así como la Nouvelle Vague francesa en su momento, fomenta la posibilidad de hacer películas distintas, raras si se quiere, o “películas que no se parecen a películas” regida por la idea máxima de libertad creativa. Pero la libertad creativa supone tener conciencia sobre los gastos, y la responsabilidad de decidir dónde se gastará lo poco se tiene. Denis añade por último que el término<em> final cut</em> es incluso un concepto norteamericano, siendo que para la producción de cine independiente del resto del mundo y de Francia es lo normal.\n\nUn diálogo breve, que incita a reflexionar sobre el cine y sobre hacer cine como un acto personal y no una actividad lucrativa, y que sucede, por parafrasear a Denis, cuando debe suceder.\n\n<i>Parte de la selección del festival WE ARE ONE 2020</i>\n\n(Esta crónica se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/\">Taller de Crítica de Otros Cines</a>)','Claire Denis en conversación con Olivier Assayas','','inherit','closed','closed','','1262-revision-v1','','','2020-06-18 12:45:06','2020-06-18 16:45:06','',1262,'http://lapistoladechejov.com/2020/06/18/1262-revision-v1/',0,'revision','',0),(1265,2,'2020-06-18 12:45:49','2020-06-18 16:45:49','<em>James N. Kienitz Wilkins. Estados Unidos.</em>\n\nBerlin es una ciudad estadounidense ubicada en el estado de Nuevo Hampshire al que el narrador admite nunca haber ido, pero por su carácter de típica ciudad norteamericana con ríos y montañas quizás sea el escenario perfecto para un relato de intrigas y asesinatos. ¿O no? <em><strong>Indefinite Pitch</strong></em>, tal como su nombre lo indica, es un pitch catalítico, donde bajo la excusa de presentar a un proyecto, emerge una confesión narrada casi como si fuera una carta escrita de manera automática.\n\nAquí, una idea conduce a otra. De la ciudad, a la región franco canadiense que limita con los Estados Unidos, a la alarmante circulación de heroína que hoy acosa a la “Ciudad construida por los Árboles” (en referencia a la fábrica de papel), una voz en off confiesa su fascinación con el lugar pero a la vez revela una incapacidad de ignorar su propio origen, el encanto hacia el calor del fuego, o la presencia del río que lindaba con su ciudad natal, y que, irónicamente, no es Berlin. El testimonio del director hila entre los puntos comunes de las diversas anécdotas que cuenta, sea el fuego, el aceite inflamable despedido por las fábricas, o la misma contaminación del río, para indagar sus recuerdos y cuestionar lo que yace bajo las aguas congeladas pero que existe y hace ruido igual: las enfermedades mentales, la prisión, y el rebrote de grupos supremacistas blancos.\n\nSobre una serie de fotografías en blanco y negro del río Androscoggin, y una imagen aparentemente estática, la voz navega sus recuerdos en constante movimiento, sin detenerse sobre nada, y dejándose llevar por el hilo de su pensamiento. Pero en <em><strong>Indefinite Pitch</strong></em> esta voz no es la misma sino va mutando a lo largo del cortometraje. Al comienzo, el tono más grave proyecta una aparente confianza, mientras que a medida que avanza la confesión se va despojando de las máscaras de carne y hueso de las que él mismo habla, y exhibe en su timbre particular y lenguaje, una fragilidad dubitativa ¿Estuvo bueno el pitch? ¿Irá esta película a un festival? Y si es así, ¿cuál?\n\n<i>Parte de la selección del festival WE ARE ONE 2020</i>\n\n(Esta crítica se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/\">Taller de Crítica de Otros Cines</a>)','Indefinite Pitch (2016)','','inherit','closed','closed','','1255-revision-v1','','','2020-06-18 12:45:49','2020-06-18 16:45:49','',1255,'http://lapistoladechejov.com/2020/06/18/1255-revision-v1/',0,'revision','',0),(1267,2,'2020-06-21 21:15:28','2020-06-22 01:15:28','<h2>Sobre sueños y disrupciones</h2>\nEl rostro de Sinan se funde con el puerto reflejado sobre la vidriera. A lo lejos, las gaviotas alertan la llegada del sol mientras el joven toma impulso para iniciar una travesía desconocida. Él suspira, mira la hora y se retira, inadvertido de ser víctima de sus fantasías. En una sola imagen, <strong><em>El árbol de peras silvestres </em></strong>anticipa la poética de su premisa, una película que teje las palabras con las imágenes con la misma soltura con la que funde la realidad con los sueños, un sueño que tiene lugar entre las hojas de los árboles o las hojas de un libro casi invisible. A lo largo de la narración, Sinan se encuentra con diversos personajes de su ciudad natal y cada conversación esboza una arista de la personalidad abrumada de Sinan, sea el hartazgo hacia el lugar donde creció o la desconfianza depositada en la religión, pero lo que aquí interesa son las pequeñas disrupciones que describen un instante de quietud sublime, casi imperceptible, que altera el orden de lo real y deja invadir un momento de ensueño.\n\nUn primer quiebre: el encuentro de Sinan con Hatice, tan accidental como incierto. De regreso de un depósito de arena, ella le grita desde el campo al costado de la ruta. La primera parte de la conversación es casual, entre afirmaciones obvias que evidencian el paso del tiempo e indagaciones sobre el estatus marital de cada uno. La segunda parte (si se quiere) tiene lugar detrás de un árbol, donde ella defiende con un romanticismo empedernido las bellezas del lugar. De pronto, en el momento más íntimo, el cuadro se abre y deja ambos escondidos tras el follaje. El viento invade el plano sonoro, y cuándo la cámara vuelve con ellos, se deja llevar por el movimiento de la brisa, como si ahora estuviera flotando. Ella le confiesa que también partirá lejos y una oleada se lleva de nuevo la cámara bien lejos, pero esta vez, cuando regresa, busca el sol entre las hojas, el cabello de ella, y un beso en silencio.\n\nUn segundo momento, el encuentro de Sinan con Suleyman. De nuevo, la casualidad prima el encuentro. Luego de una serie de regaños sarcásticos sobre la escritura, Suleyman pierde la paciencia con Sinan y le acusa de romántico e ingenuo. Sinan le insulta mientras ve al escritor alejarse pero sin embargo, en el siguiente plano de Suleyman, Sinan vuelve a aparecer misteriosamente, como si le estuviera esperando al otro lado del puente. Cuando al fin el escritor le deja solo, Sinan se apoya sobre la baranda del puente y rompe sin querer una estatua. La cámara se aleja y contempla el vuelo de las gaviotas hasta que de pronto escuchamos y vemos como él echa el pedazo roto al río. Pero alguien parece haber visto lo que él hizo. Sin previo aviso, se inicia una frenética persecución que conduce a Sinan hasta el caballo de Troya y que culmina con una mano que le agarra y le sacude, una mano que para desconcierto nuestro y de Sinan resulta ser la del conductor del colectivo.\n\nAlgún tiempo después, luego de haber hecho su servicio militar, Sinan regresa a casa. En una conversación con su madre y hermana, donde él se lleva la sorpresa de encontrar sus libros cubiertos en moho, se entera que su padre se ha mudado a vivir con su abuelo. La conversación se interrumpe con un plano en movimiento que persigue a un perro callejero, el perro que alguna vez fue de su padre y que Sinan vendió para financiar la impresión de su libro. El animal huye despavorido mientras la nieve cae en silencio al costado del río. El movimiento se deja llevar por su andar frenético e impredecible hasta que el perro se tira al río y desaparece con el ruido de un chapuzón determinado. Pero en el agua, no hay rastro alguno de que algo cayó. La cámara revela la corriente tranquila hasta que levanta la mirada a un incrédulo Sinan, quien se asoma buscando el perro desaparecido.\n\nNo mucho después, Sinan hurga entre las cosas de su padre y descubre, guardado como si fuera un tesoro, el recorte de la noticia de la publicación de su libro. La escena siguiente corta a un plano del sol entre las hojas escarchadas en pleno invierno, y luego a las mismas hojas pero en otra estación, tal vez primavera. La cámara se somete una vez a la soltura del viento, pero le añade un movimiento que desciende y sigue la línea de una soga. A lo lejos, un grupo de personas trabajan la tierra, y atado por el tronco, cuelga una cuna con un bebé envuelto en hormigas. Los insectos le cubren el rostro y el cuerpo, ingresan por la nariz y descansan sobre la boca, pero el bebé duerme plácidamente; ni siquiera se mueve. Ahora es Sinan el que despierta de golpe, como si las hormigas estuvieran sobre su propio rostro.\n\nEl último encuentro de Sinan es con su padre. Ambos hombres están derrotados: Sinan por su intento fallido de ser escritor y su ineludible resignación, y su padre, consumido por las consecuencias de su adicción. La conversación es, por primera vez, amena, libre de reclamos. Entre consejos y reflexiones, Sinan se entera que su padre ha sido quizás su único lector. El ruido de una jauría de chacales interrumpe su conversación. La cámara se aleja y deja a padre e hijo sentados al borde de la casa, insignificantes frente al tiempo. Cuando vuelve, reposa sobre el rostro de Sinan quien sin previo aviso advierte el ruido de la soga tirante que cuelga sobre el pozo. Con un movimiento sedoso, la cámara se aproxima hasta el pozo y revela al propio Sinan ahorcado e inerte. Pero era tan solo un sueño del cual su padre despierta al sentir los bichos sobre su cuerpo. Sinan está en el pozo, no colgado, sino cavando.\n\nLejanía, movimiento y alteraciones perceptivas anuncian las descritas irrupciones, y en un segundo orden, la eventualidad de los hechos, como si el azar propio de los sueños invadiera por unos segundos el relato. ¿Tuvieron lugar dichos momentos? Sabemos que el padre de Sinan fue olvidado entre las hormigas, y que él vendió el perro, pero ¿acaso se podría decir lo mismo de los encuentros citados? ¿No estaríamos frente a un relato hipnótico construido a partir de los sueños? Lo curioso es que aún así es posible identificar el peso de la carga de Sinan, como si sus preocupaciones hubieran volcado en momentos aislados pero partes de un todo. Porque la película es la historia de un joven escritor, que se encuentra con su eterno amor, quien huye de la predestinación tan disminuido como el pánico de un perro callejero; en su familia la rareza de las peras silvestres se transmite de generación a generación, como el terror a estar colgado despierto. En la condensación, hallamos una historia que parte de las imágenes oníricas y se desdobla al mundo real con su reglas y nociones de tiempo y espacio, como si los sueños hubieran configurado el relato y no al revés.\n\n<strong><em>El árbol de peras silvestres</em></strong> es un libro que circula por el costado, que casi no se ve, un libro al que le toma la humedad y el que nadie lee. En compensación, el nombre de la película lleva el nombre del libro. Los recuerdos borrosos de un sueño, ¿acaso no remiten a una película de la misma manera en la que los recuerdos parecen sueños? En <strong><em>El árbol de peras silvestres</em></strong> los sueños se desprenden de la película y dialogan con otros sueños, en una fragmentación del desencanto al cual asistimos y nos inmiscuimos, porque un sueño dentro de una película es un sueño dentro de otro, pintado quizás con los mismos colores brumosos que una película que transcurre en un sueño.','El árbol de peras silvestres (2018)','','publish','open','open','','el-arbol-de-peras-silvestres-2018','','','2020-06-21 21:15:32','2020-06-22 01:15:32','',0,'http://lapistoladechejov.com/?p=1267',0,'post','',0),(1268,2,'2020-06-21 21:14:42','2020-06-22 01:14:42','el arbol','el arbol','','inherit','open','closed','','el-arbol','','','2020-06-21 21:15:03','2020-06-22 01:15:03','',1267,'http://lapistoladechejov.com/wp-content/uploads/2020/06/el-arbol.jpg',0,'attachment','image/jpeg',0),(1269,2,'2020-06-21 21:15:07','2020-06-22 01:15:07','<h2>Sobre sueños y disrupciones</h2>\nEl rostro de Sinan se funde con el puerto reflejado sobre la vidriera. A lo lejos, las gaviotas alertan la llegada del sol mientras el joven toma impulso para iniciar una travesía desconocida. Él suspira, mira la hora y se retira, inadvertido de ser víctima de sus fantasías. En una sola imagen, <strong><em>El árbol de peras silvestres </em></strong>anticipa la poética de su premisa, una película que teje las palabras con las imágenes con la misma soltura con la que funde la realidad con los sueños, un sueño que tiene lugar entre las hojas de los árboles o las hojas de un libro casi invisible. A lo largo de la narración, Sinan se encuentra con diversos personajes de su ciudad natal y cada conversación esboza una arista de la personalidad abrumada de Sinan, sea el hartazgo hacia el lugar donde creció o la desconfianza depositada en la religión, pero lo que aquí interesa son las pequeñas disrupciones que describen un instante de quietud sublime, casi imperceptible, que altera el orden de lo real y deja invadir un momento de ensueño.\n\nUn primer quiebre: el encuentro de Sinan con Hatice, tan accidental como incierto. De regreso de un depósito de arena, ella le grita desde el campo al costado de la ruta. La primera parte de la conversación es casual, entre afirmaciones obvias que evidencian el paso del tiempo e indagaciones sobre el estatus marital de cada uno. La segunda parte (si se quiere) tiene lugar detrás de un árbol, donde ella defiende con un romanticismo empedernido las bellezas del lugar. De pronto, en el momento más íntimo, el cuadro se abre y deja ambos escondidos tras el follaje. El viento invade el plano sonoro, y cuándo la cámara vuelve con ellos, se deja llevar por el movimiento de la brisa, como si ahora estuviera flotando. Ella le confiesa que también partirá lejos y una oleada se lleva de nuevo la cámara bien lejos, pero esta vez, cuando regresa, busca el sol entre las hojas, el cabello de ella, y un beso en silencio.\n\nUn segundo momento, el encuentro de Sinan con Suleyman. De nuevo, la casualidad prima el encuentro. Luego de una serie de regaños sarcásticos sobre la escritura, Suleyman pierde la paciencia con Sinan y le acusa de romántico e ingenuo. Sinan le insulta mientras ve al escritor alejarse pero sin embargo, en el siguiente plano de Suleyman, Sinan vuelve a aparecer misteriosamente, como si le estuviera esperando al otro lado del puente. Cuando al fin el escritor le deja solo, Sinan se apoya sobre la baranda del puente y rompe sin querer una estatua. La cámara se aleja y contempla el vuelo de las gaviotas hasta que de pronto escuchamos y vemos como él echa el pedazo roto al río. Pero alguien parece haber visto lo que él hizo. Sin previo aviso, se inicia una frenética persecución que conduce a Sinan hasta el caballo de Troya y que culmina con una mano que le agarra y le sacude, una mano que para desconcierto nuestro y de Sinan resulta ser la del conductor del colectivo.\n\nAlgún tiempo después, luego de haber hecho su servicio militar, Sinan regresa a casa. En una conversación con su madre y hermana, donde él se lleva la sorpresa de encontrar sus libros cubiertos en moho, se entera que su padre se ha mudado a vivir con su abuelo. La conversación se interrumpe con un plano en movimiento que persigue a un perro callejero, el perro que alguna vez fue de su padre y que Sinan vendió para financiar la impresión de su libro. El animal huye despavorido mientras la nieve cae en silencio al costado del río. El movimiento se deja llevar por su andar frenético e impredecible hasta que el perro se tira al río y desaparece con el ruido de un chapuzón determinado. Pero en el agua, no hay rastro alguno de que algo cayó. La cámara revela la corriente tranquila hasta que levanta la mirada a un incrédulo Sinan, quien se asoma buscando el perro desaparecido.\n\nNo mucho después, Sinan hurga entre las cosas de su padre y descubre, guardado como si fuera un tesoro, el recorte de la noticia de la publicación de su libro. La escena siguiente corta a un plano del sol entre las hojas escarchadas en pleno invierno, y luego a las mismas hojas pero en otra estación, tal vez primavera. La cámara se somete una vez a la soltura del viento, pero le añade un movimiento que desciende y sigue la línea de una soga. A lo lejos, un grupo de personas trabajan la tierra, y atado por el tronco, cuelga una cuna con un bebé envuelto en hormigas. Los insectos le cubren el rostro y el cuerpo, ingresan por la nariz y descansan sobre la boca, pero el bebé duerme plácidamente; ni siquiera se mueve. Ahora es Sinan el que despierta de golpe, como si las hormigas estuvieran sobre su propio rostro.\n\nEl último encuentro de Sinan es con su padre. Ambos hombres están derrotados: Sinan por su intento fallido de ser escritor y su ineludible resignación, y su padre, consumido por las consecuencias de su adicción. La conversación es, por primera vez, amena, libre de reclamos. Entre consejos y reflexiones, Sinan se entera que su padre ha sido quizás su único lector. El ruido de una jauría de chacales interrumpe su conversación. La cámara se aleja y deja a padre e hijo sentados al borde de la casa, insignificantes frente al tiempo. Cuando vuelve, reposa sobre el rostro de Sinan quien sin previo aviso advierte el ruido de la soga tirante que cuelga sobre el pozo. Con un movimiento sedoso, la cámara se aproxima hasta el pozo y revela al propio Sinan ahorcado e inerte. Pero era tan solo un sueño del cual su padre despierta al sentir los bichos sobre su cuerpo. Sinan está en el pozo, no colgado, sino cavando.\n\nLejanía, movimiento y alteraciones perceptivas anuncian las descritas irrupciones, y en un segundo orden, la eventualidad de los hechos, como si el azar propio de los sueños invadiera por unos segundos el relato. ¿Tuvieron lugar dichos momentos? Sabemos que el padre de Sinan fue olvidado entre las hormigas, y que él vendió el perro, pero ¿acaso se podría decir lo mismo de los encuentros citados? ¿No estaríamos frente a un relato hipnótico construido a partir de los sueños? Lo curioso es que aún así es posible identificar el peso de la carga de Sinan, como si sus preocupaciones hubieran volcado en momentos aislados pero partes de un todo. Porque la película es la historia de un joven escritor, que se encuentra con su eterno amor, quien huye de la predestinación tan disminuido como el pánico de un perro callejero; en su familia la rareza de las peras silvestres se transmite de generación a generación, como el terror a estar colgado despierto. En la condensación, hallamos una historia que parte de las imágenes oníricas y se desdobla al mundo real con su reglas y nociones de tiempo y espacio, como si los sueños hubieran configurado el relato y no al revés.\n\n<strong><em>El árbol de peras silvestres</em></strong> es un libro que circula por el costado, que casi no se ve, un libro al que le toma la humedad y el que nadie lee. En compensación, el nombre de la película lleva el nombre del libro. Los recuerdos borrosos de un sueño, ¿acaso no remiten a una película de la misma manera en la que los recuerdos parecen sueños? En <strong><em>El árbol de peras silvestres</em></strong> los sueños se desprenden de la película y dialogan con otros sueños, en una fragmentación del desencanto al cual asistimos y nos inmiscuimos, porque un sueño dentro de una película es un sueño dentro de otro, pintado quizás con los mismos colores brumosos que una película que transcurre en un sueño.','El árbol de peras silvestres (2018)','','inherit','closed','closed','','1267-revision-v1','','','2020-06-21 21:15:07','2020-06-22 01:15:07','',1267,'http://lapistoladechejov.com/2020/06/21/1267-revision-v1/',0,'revision','',0),(1299,2,'2020-08-03 20:34:07','2020-08-04 00:34:07','branco sai preto fica','branco 3','','inherit','open','closed','','branco-3','','','2020-08-03 20:34:40','2020-08-04 00:34:40','',1298,'http://lapistoladechejov.com/wp-content/uploads/2020/08/branco-3.jpeg',0,'attachment','image/jpeg',0),(1300,2,'2020-08-03 20:34:48','2020-08-04 00:34:48','<h2>Pasado amputado.</h2>\nLa amputación es una operación quirúrgica tan traumática que incluso mucho tiempo después de la recuperación es posible que se manifieste el dolor fantasma, una angustia persistente y difícil de sanar. Para quienes lo padecen, este dolor es tan real que parece que el miembro amputado estuviera aún ahí, vivo y latente. El cerebro queda desorientado por esta falta y en su confusión envía señales mixtas de otras partes del cuerpo pensando que allí reside algo que ya no está más. ¿Qué sucede entonces cuando la amputación trasciende lo corporal y se separa a una persona de su ciudad? ¿Es posible amputar un pasado sin dejar rastros del miembro desechado?\n\nEn <strong><em>Branco sai, preto fica, </em></strong>Brasilia está regida por una máxima segregacionista: los blancos por un lado, los negros por el otro. Los blancos pueden vivir en la ciudad y los negros deben permanecer en las periferias de la supuesta metrópoli ideal. Una distopía no tan ficticia al considerar que la región de Ceilândia fue creada a partir del traslado forzoso de las personas que se asentaron en la capital durante la construcción de la ciudad “igualitaria”. En la película, sus personajes habitan en las afueras del núcleo urbano, pero recuerdan con derrota los días pasados. Sartana observa la ciudad desde lejos y toma fotografías en un acto de apropiación distante donde las luces se reducen a puntos luminosos desenfocados; Marquim recrea momentos en el club nocturno donde iba a bailar con sus amigos a través de una emisión radial que mezcla beats y diálogo como una radionovela musical. Pero en sus relatos, una noche de marzo del ‘86 llegó la policía, y la brutalidad de las fuerzas armadas dejó sus huellas en ambos hombres, Sartana perdió la pierna y Marquim fue confinado a una silla de ruedas.\n\nLos cuerpos de <strong><em>Branco sai, preto fica </em></strong>están cercenados. Se valen de poleas y bisagras para articularse en el cotidiano. Los espacios que habitan conjugan retazos de chatarra que enlazan cuerpo con estructura, un poco como ellos mismos hoy son carne y hierro. A los ojos del mundo en el que habitan, ellos son la materia sobrante, la rebaba de metal del progreso. Dimas viaja del futuro al presente para encontrar a Sartana y a Maquim, sobrevivientes cuyos testimonios son indispensables en su tiempo para el reconocimiento de las minorías raciales. Su máquina del tiempo, un container, aterriza en medio de Ceilândia sin levantar mayores sospechas. Pero incluso este detective del futuro es prescindible en su misión si no logra su cometido: su regreso se ve siempre amenazado pese al reconocimiento de sus facultades mentales alteradas por el viaje. En este contexto, el tormento físico a causa de una ausencia mayor es el combustible que alimenta la búsqueda de venganza. La cápsula que construye Marquim no solo puede derribar helicópteros sino que pretende insertar a la fuerza la producción musical popular para las clases privilegiadas poseedoras del pasaporte citadino. Sartana, por su parte, modifica el funcionamiento de las prótesis que comercializa para que duren más tiempo. Contra el desprendimiento, la fantasía de una irrupción violenta y la conquista de aquello que fue arrebatado.\n\nPor otro lado, existe una conexión truncada entre los personajes. El hombre del futuro pretende encontrar a los otros dos cuando uno de ellos ya dibuja su rostro. Y Maquim habla de Sartana como si no supiera su paradero, pero luego obran en conjunto, una confusión que responde a la idea de fragmentos insertados y reconfigurados a la fuerza como la fusión del ritmo del rap con la danza del burro. Al muñón del presente se le empalma lo cronológico pensando así que devolver el orden sería una forma de reducir la hinchazón. Imposible. Porque <strong><em>Branco sai, preto fica </em></strong>delira sobre el retorno de lo amputado, donde aquello que fue desmembrado y adquirió vida propia se resiste a perecer. Para Adirley Queirós, aprender a caminar con esta falta, aprender a moverse y sostener el peso sobre un objeto foráneo es una forma de apropiarse del dolor fantasma y de reordenar los circuitos sensoriales enmarañados.\n\nLa cámara contempla los andares de Sartana y de Marquim y el tiempo destinado en cada traslado. Una escalera es un sin fin de peldaños a sortear que demanda la sumisión del cuerpo a la carencia física. Hay que usar las manos, la otra pierna, e ir despacio. Asimismo, subir al primer piso de la casa es un proceso extenuante, desde bajarse del auto a finalmente apretar el botón del ascensor. La fisonomía se traslada a la imagen y se impregna en el cuadro. En <strong><em>Branco sai, preto fica </em></strong>la mutilación es tanto visual como sonora. A través de comunicaciones radiales, la voz oficial del gobierno recuerda cada tanto su dominio sobre la zona. La voz es amena, afable incluso, cuando recuerda los días pasados sin ningún altercado, en contraposición a la hostilidad de la periferia y el recordatorio de que cada quien debe permanecer donde le toca vivir. La autoridad es un ente impalpable cuya tiranía se recuerda mediante la memoria tan propensa a ser borrada. De la misma manera, el ruido de un láser invisible que se dispara hacia enemigos fuera de campo (también invisibles) evoca un arma de alto calibre y tecnología fuera de este mundo inconcebibles en nuestro presente, pero que están ahí. El desconsuelo del futuro se desfigura en el presente como un miembro más arrancado a la fuerza.\n\nLos escenarios de <strong><em>Branco sai, preto fica </em></strong>abruman. Son desiertos de chapa y ladrillo donde el movimiento de las personas es imperceptible, salvo el tren que recuerda que sí existe un más allá. El desplazamiento de los transportes es siempre hacia adelante, hacia el centro y el rastro que deja el tren a su paso es tan oscuro como las ruinas de un tinglado, porque la modernidad esconde en sus estructuras monumentales la cara negra del crecimiento, eso que debe ser extirpado o al menos mantenido al margen. Tal como en <strong><em>La Jetée</em></strong> las fotografías de París después de la Segunda Guerra Mundial idearon la pesadilla de Chris Marker, la secuencia final de la película describe con una serie de dibujos a lápiz la destrucción de Brasilia. Entre gritos y explosiones, 50 años de progreso se destruyen en 50 segundos. Y no es tanto una pesadilla.\n\n<span style=\"color: #808080;\">*Texto escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span>','Branco sai, preto fica (2015)','','inherit','closed','closed','','1298-revision-v1','','','2020-08-03 20:34:48','2020-08-04 00:34:48','',1298,'http://lapistoladechejov.com/2020/08/03/1298-revision-v1/',0,'revision','',0),(1355,2,'2020-10-13 15:34:29','2020-10-13 18:34:29','<h2>Pasado amputado.</h2>\nLa amputación es una operación quirúrgica tan traumática que incluso mucho tiempo después de la recuperación es posible que se manifieste el dolor fantasma, una angustia persistente y difícil de sanar. Para quienes lo padecen, este dolor es tan real que parece que el miembro amputado estuviera aún ahí, vivo y latente. El cerebro queda desorientado por esta falta y en su confusión envía señales mixtas de otras partes del cuerpo pensando que allí reside algo que ya no está más. ¿Qué sucede entonces cuando la amputación trasciende lo corporal y se separa a una persona de su ciudad? ¿Es posible amputar un pasado sin dejar rastros del miembro desechado?\n\nEn <strong><em>Branco sai, preto fica, </em></strong>Brasilia está regida por una máxima segregacionista: los blancos por un lado, los negros por el otro. Los blancos pueden vivir en la ciudad y los negros deben permanecer en las periferias de la supuesta metrópoli ideal. Una distopía no tan ficticia al considerar que la región de Ceilândia fue creada a partir del traslado forzoso de las personas que se asentaron en la capital durante la construcción de la ciudad “igualitaria”. En la película, sus personajes habitan en las afueras del núcleo urbano, pero recuerdan con derrota los días pasados. Sartana observa la ciudad desde lejos y toma fotografías en un acto de apropiación distante donde las luces se reducen a puntos luminosos desenfocados; Marquim recrea momentos en el club nocturno donde iba a bailar con sus amigos a través de una emisión radial que mezcla beats y diálogo como una radionovela musical. Pero en sus relatos, una noche de marzo del ‘86 llegó la policía, y la brutalidad de las fuerzas armadas dejó sus huellas en ambos hombres, Sartana perdió la pierna y Marquim fue confinado a una silla de ruedas.\n\nLos cuerpos de <strong><em>Branco sai, preto fica </em></strong>están cercenados. Se valen de poleas y bisagras para articularse en el cotidiano. Los espacios que habitan conjugan retazos de chatarra que enlazan cuerpo con estructura, un poco como ellos mismos hoy son carne y hierro. A los ojos del mundo en el que habitan, ellos son la materia sobrante, la rebaba de metal del progreso. Dimas viaja del futuro al presente para encontrar a Sartana y a Maquim, sobrevivientes cuyos testimonios son indispensables en su tiempo para el reconocimiento de las minorías raciales. Su máquina del tiempo, un container, aterriza en medio de Ceilândia sin levantar mayores sospechas. Pero incluso este detective del futuro es prescindible en su misión si no logra su cometido: su regreso se ve siempre amenazado pese al reconocimiento de sus facultades mentales alteradas por el viaje. En este contexto, el tormento físico a causa de una ausencia mayor es el combustible que alimenta la búsqueda de venganza. La cápsula que construye Marquim no solo puede derribar helicópteros sino que pretende insertar a la fuerza la producción musical popular para las clases privilegiadas poseedoras del pasaporte citadino. Sartana, por su parte, modifica el funcionamiento de las prótesis que comercializa para que duren más tiempo. Contra el desprendimiento, la fantasía de una irrupción violenta y la conquista de aquello que fue arrebatado.\n\nPor otro lado, existe una conexión truncada entre los personajes. El hombre del futuro pretende encontrar a los otros dos cuando uno de ellos ya dibuja su rostro. Y Maquim habla de Sartana como si no supiera su paradero, pero luego obran en conjunto, una confusión que responde a la idea de fragmentos insertados y reconfigurados a la fuerza como la fusión del ritmo del rap con la danza del burro. Al muñón del presente se le empalma lo cronológico pensando así que devolver el orden sería una forma de reducir la hinchazón. Imposible. Porque <strong><em>Branco sai, preto fica </em></strong>delira sobre el retorno de lo amputado, donde aquello que fue desmembrado y adquirió vida propia se resiste a perecer. Para Adirley Queirós, aprender a caminar con esta falta, aprender a moverse y sostener el peso sobre un objeto foráneo es una forma de apropiarse del dolor fantasma y de reordenar los circuitos sensoriales enmarañados.\n\nLa cámara contempla los andares de Sartana y de Marquim y el tiempo destinado en cada traslado. Una escalera es un sin fin de peldaños a sortear que demanda la sumisión del cuerpo a la carencia física. Hay que usar las manos, la otra pierna, e ir despacio. Asimismo, subir al primer piso de la casa es un proceso extenuante, desde bajarse del auto a finalmente apretar el botón del ascensor. La fisonomía se traslada a la imagen y se impregna en el cuadro. En <strong><em>Branco sai, preto fica </em></strong>la mutilación es tanto visual como sonora. A través de comunicaciones radiales, la voz oficial del gobierno recuerda cada tanto su dominio sobre la zona. La voz es amena, afable incluso, cuando recuerda los días pasados sin ningún altercado, en contraposición a la hostilidad de la periferia y el recordatorio de que cada quien debe permanecer donde le toca vivir. La autoridad es un ente impalpable cuya tiranía se recuerda mediante la memoria tan propensa a ser borrada. De la misma manera, el ruido de un láser invisible que se dispara hacia enemigos fuera de campo (también invisibles) evoca un arma de alto calibre y tecnología fuera de este mundo inconcebibles en nuestro presente, pero que están ahí. El desconsuelo del futuro se desfigura en el presente como un miembro más arrancado a la fuerza.\n\nLos escenarios de <strong><em>Branco sai, preto fica </em></strong>abruman. Son desiertos de chapa y ladrillo donde el movimiento de las personas es imperceptible, salvo el tren que recuerda que sí existe un más allá. El desplazamiento de los transportes es siempre hacia adelante, hacia el centro y el rastro que deja el tren a su paso es tan oscuro como las ruinas de un tinglado, porque la modernidad esconde en sus estructuras monumentales la cara negra del crecimiento, eso que debe ser extirpado o al menos mantenido al margen. Tal como en <strong><em>La Jetée</em></strong> las fotografías de París después de la Segunda Guerra Mundial idearon la pesadilla de Chris Marker, la secuencia final de la película describe con una serie de dibujos a lápiz la destrucción de Brasilia. Entre gritos y explosiones, 50 años de progreso se destruyen en 50 segundos. Y no es tanto una pesadilla.','Branco sai, preto fica (2015)','','inherit','closed','closed','','1298-revision-v1','','','2020-10-13 15:34:29','2020-10-13 18:34:29','',1298,'http://lapistoladechejov.com/2020/10/13/1298-revision-v1/',0,'revision','',0),(1303,2,'2020-08-07 13:37:10','2020-08-07 17:37:10','<b>Maya Da-Rin. Brasil / Francia.</b>\n\n<span style=\"font-weight: 400;\">En un primer plano, Justino, un hombre indígena, cabecea y cierra los ojos. El sueño pareciera apoderarse de su cuerpo mientras la cámara se desplaza lentamente hacia atrás en sintonía con la caía de sus párpados. La textura de un container de chapa metálica invade la imagen a la par que la oscuridad funde su cuerpo con el metal. El trance es hipotónico. Los sonidos se distorsionan, las luces de alerta se desvanecen, como aquel momento de somnolencia profunda donde la alucinación se embarulla con la realidad. Pero así como los sueños se desvanecen tan pronto abrimos los ojos, este instante es efímero. Al rato suena la radio y devuelve a Justino al puerto. Hay que verificar un sector. </span>\n\n<span style=\"font-weight: 400;\">La ciudad industrial de Manaus es el escenario donde se ambienta el relato de </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, ópera prima de la directora Maya Da-Rin. El personaje de la historia ilustra la adaptación de una población al modo de vivir moderno donde sin dinero no se come, y sin trabajo no hay dinero. En este contexto, y tal como ocurre en toda sudamérica, el desarrollo de los centros urbanos ha desplazado a las poblaciones originarias a una vida periférica en pos del aparente desarrollo pero no solo en lo geográfico sino además en la sumisión forzosa a la modernidad donde la hegemonía cultural avasalla las minorías; para el portugués parlante cualquier variante del </span><i><span style=\"font-weight: 400;\">tukano</span></i><span style=\"font-weight: 400;\"> suena igual a cualquier otra rama de la lengua amazónica. </span>\n\n<b><i>A febre </i></b><span style=\"font-weight: 400;\">es una película de contrastes. La diferencia entre el uno y el otro es tal que el mero traslado del personaje a su lugar de trabajo es un viaje interminable. Da-Rin traza estos recorridos con una insistencia que puntualiza el tiempo que implica para Justino desplazarse del hogar al puerto: un viaje en colectivo donde dormita parado, una larga caminata al costado de la ruta y una subida a una colina que permite ver a lo lejos las luces titilantes de la ciudad. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, así como bosque y ciudad están quebrados por la mitad por la ruta que los atraviesa, las diferencias trascienden los espacios. El lugar donde trabaja Justino es un amplio desierto de hormigón populado por containers donde un ser humano queda reducido a un punto ínfimo del paisaje. Aquí, solo la maquinaria pesada puede trasladar estos bloques de mercadería, lo que hace su labor aún más impersonal, la antítesis de la vida en el bosque donde son las manos las que pescan o las que recolectan un cacho de banana en plena compenetración con el ambiente. De la misma manera, Justino se viste y desviste antes de iniciar sus rondas, como si se estuviera adaptando con resignación a las exigencias de su presente. Porta un arma, un objeto que nunca ha usado salvo para cazar y realiza las tareas encomendadas con un cierto automatismo.</span>\n\n<span style=\"font-weight: 400;\">Vas a recetar pastillas igual que los blancos, le dice el hermano de Justino a su hija cuando ella le comenta que ha ganado una beca para estudiar medicina en Brasilia. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, el enfrentamiento no ocurre únicamente entre los blancos y los indígenas, sino también entre una generación y otra, la que subsistió por medios propios y la que hoy compra su comida en el supermercado. Los episodios febrículos que acechan a Justino es solo un indicio más de un cuerpo invadido por costumbres ajenas y miedos foráneos.</span>\n\n<span style=\"font-weight: 400;\">Si en el primer cuadro de la película la cámara se acercaba a Justino, al final adquiere conciencia que su presencia es también una irrupción. A medida que él regresa al bosque, el plano es inverso. Se lo ve de espaldas mientras se adentra entre los árboles y deja a su paso un ápice de resistencia utópica. Un analgésico no es ni será nunca suficiente para paliar el dolor de estar desapareciendo del mundo, porque la fiebre es tan solo un síntoma de un problema mayor. </span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional de largometrajes del </span></i><a href=\"http://femcine.cl/\"><i><span style=\"font-weight: 400;\">FEMCINE</span></i></a><i><span style=\"font-weight: 400;\"> 2020 - Festival de cine de mujeres</span></i>','A febre (2019)','','inherit','closed','closed','','1301-revision-v1','','','2020-08-07 13:37:10','2020-08-07 17:37:10','',1301,'http://lapistoladechejov.com/2020/08/07/1301-revision-v1/',0,'revision','',0),(1304,2,'2020-08-07 14:44:50','2020-08-07 18:44:50','<b>Maya Da-Rin. Brasil / Francia.</b>\n\n<span style=\"font-weight: 400;\">En un primer plano, Justino, un hombre indígena, cabecea y cierra los ojos. El sueño pareciera apoderarse de su cuerpo mientras la cámara se desplaza lentamente hacia atrás en sintonía con la caía de sus párpados. La textura de un container de chapa metálica invade la imagen a la par que la oscuridad funde su cuerpo con el metal. El trance es hipotónico. Los sonidos se distorsionan, las luces de alerta se desvanecen, como aquel momento de somnolencia profunda donde la alucinación se embarulla con la realidad. Pero así como los sueños se desvanecen tan pronto abrimos los ojos, este instante es efímero. Al rato suena la radio y devuelve a Justino al puerto. Hay que verificar un sector. </span>\n\n<span style=\"font-weight: 400;\">La ciudad industrial de Manaus es el escenario donde se ambienta el relato de </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, ópera prima de la directora Maya Da-Rin. El personaje de la historia ilustra la adaptación de una población al modo de vivir moderno donde sin dinero no se come, y sin trabajo no hay dinero. En este contexto, y tal como ocurre en toda sudamérica, el desarrollo de los centros urbanos ha desplazado a las poblaciones originarias a una vida periférica en pos del aparente desarrollo pero no solo en lo geográfico sino además en la sumisión forzosa a la modernidad donde la hegemonía cultural avasalla las minorías; para el portugués parlante cualquier variante del </span><i><span style=\"font-weight: 400;\">tukano</span></i><span style=\"font-weight: 400;\"> suena igual a cualquier otra rama de la lengua amazónica. </span>\n\n<b><i>A febre </i></b><span style=\"font-weight: 400;\">es una película de contrastes. La diferencia entre el uno y el otro es tal que el mero traslado del personaje a su lugar de trabajo es un viaje interminable. Da-Rin traza estos recorridos con una insistencia que puntualiza el tiempo que implica para Justino desplazarse del hogar al puerto: un viaje en colectivo donde dormita parado, una larga caminata al costado de la ruta y una subida a una colina que permite ver a lo lejos las luces titilantes de la ciudad. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, así como bosque y ciudad están quebrados por la mitad por la ruta que los atraviesa, las diferencias trascienden los espacios. El lugar donde trabaja Justino es un amplio desierto de hormigón populado por containers donde un ser humano queda reducido a un punto ínfimo del paisaje. Aquí, solo la maquinaria pesada puede trasladar estos bloques de mercadería, lo que hace su labor aún más impersonal, la antítesis de la vida en el bosque donde son las manos las que pescan o las que recolectan un cacho de banana en plena compenetración con el ambiente. De la misma manera, Justino se viste y desviste antes de iniciar sus rondas, como si se estuviera adaptando con resignación a las exigencias de su presente. Porta un arma, un objeto que nunca ha usado salvo para cazar y realiza las tareas encomendadas con un cierto automatismo.</span>\n\n<span style=\"font-weight: 400;\">Vas a recetar pastillas igual que los blancos, le dice el hermano de Justino a su hija cuando ella le comenta que ha ganado una beca para estudiar medicina en Brasilia. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, el enfrentamiento no ocurre únicamente entre los blancos y los indígenas, sino también entre una generación y otra, la que subsistió por medios propios y la que hoy compra su comida en el supermercado. Los episodios febrículos que acechan a Justino es solo un indicio más de un cuerpo invadido por costumbres ajenas y miedos foráneos.</span>\n\n<span style=\"font-weight: 400;\">Si en el primer cuadro de la película la cámara se acercaba a Justino, al final adquiere conciencia de que su presencia es también una irrupción. A medida que él regresa al bosque, el plano es inverso. Se lo ve de espaldas mientras se adentra entre los árboles y deja a su paso un ápice de resistencia utópica. Un analgésico no es ni será nunca suficiente para paliar el dolor de estar desapareciendo del mundo, porque la fiebre es tan solo un síntoma de un problema mayor. </span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional de largometrajes del </span></i><a href=\"http://femcine.cl/\"><i><span style=\"font-weight: 400;\">FEMCINE</span></i></a><i><span style=\"font-weight: 400;\"> 2020 - Festival de cine de mujeres</span></i>','A febre (2019)','','inherit','closed','closed','','1301-revision-v1','','','2020-08-07 14:44:50','2020-08-07 18:44:50','',1301,'http://lapistoladechejov.com/2020/08/07/1301-revision-v1/',0,'revision','',0),(1305,2,'2020-08-07 14:46:49','2020-08-07 18:46:49','<b>Maya Da-Rin. Brasil / Francia.</b>\n\n<span style=\"font-weight: 400;\">En un primer plano, Justino, un hombre indígena, cabecea y cierra los ojos. El sueño pareciera apoderarse de su cuerpo mientras la cámara se desplaza lentamente hacia atrás en sintonía con la caía de sus párpados. La textura de un container de chapa metálica invade la imagen a la par que la oscuridad funde su cuerpo con el metal. El trance es hipotónico. Los sonidos se distorsionan, las luces de alerta se desvanecen, como aquel momento de somnolencia profunda donde la alucinación se embarulla con la realidad. Pero así como los sueños se desvanecen tan pronto abrimos los ojos, este instante es efímero. Al rato suena la radio y devuelve a Justino al puerto. Hay que verificar un sector. </span>\n\n<span style=\"font-weight: 400;\">La ciudad industrial de Manaus es el escenario donde se ambienta el relato de </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, ópera prima de la directora Maya Da-Rin. El personaje de la historia ilustra la adaptación de una población al modo de vivir moderno donde sin dinero no se come, y sin trabajo no hay dinero. En este contexto, y tal como ocurre en toda sudamérica, el desarrollo de los centros urbanos ha desplazado a las poblaciones originarias a una vida periférica en pos del aparente desarrollo pero no solo en lo geográfico sino además en la sumisión forzosa a la modernidad donde la hegemonía cultural avasalla las minorías; para el portugués parlante cualquier variante del </span><i><span style=\"font-weight: 400;\">tukano</span></i><span style=\"font-weight: 400;\"> suena igual a cualquier otra rama de la lengua amazónica. </span>\n\n<b><i>A febre </i></b><span style=\"font-weight: 400;\">es una película de contrastes. La diferencia entre el uno y el otro es tal que el mero traslado del personaje a su lugar de trabajo es un viaje interminable. Da-Rin traza estos recorridos con una insistencia que puntualiza el tiempo que implica para Justino desplazarse del hogar al puerto: un viaje en colectivo donde dormita parado, una larga caminata al costado de la ruta y una subida a una colina que permite ver a lo lejos las luces titilantes de la ciudad. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, así como bosque y ciudad están quebrados por la mitad por la ruta que los atraviesa, las diferencias trascienden los espacios. El lugar donde trabaja Justino es un amplio desierto de hormigón populado por containers donde un ser humano queda reducido a un punto ínfimo del paisaje. Aquí, solo la maquinaria pesada puede trasladar estos bloques de mercadería, lo que hace su labor aún más impersonal, la antítesis de la vida en el bosque donde son las manos las que pescan o las que recolectan un cacho de banana en plena compenetración con el ambiente. De la misma manera, Justino se viste y desviste antes de iniciar sus rondas, como si se estuviera adaptando con resignación a las exigencias de su presente. Porta un arma, un objeto que nunca ha usado salvo para cazar y realiza las tareas encomendadas con un cierto automatismo.</span>\n\n<span style=\"font-weight: 400;\">Vas a recetar pastillas igual que los blancos, le dice el hermano de Justino a su hija cuando ella le comenta que ha ganado una beca para estudiar medicina en Brasilia. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, el enfrentamiento no ocurre únicamente entre los blancos y los indígenas, sino también entre una generación y otra, la que subsistió por medios propios y la que hoy compra su comida en el supermercado. Los episodios de febrícula que acechan a Justino es solo un indicio más de un cuerpo invadido por costumbres ajenas y miedos foráneos.</span>\n\n<span style=\"font-weight: 400;\">Si en el primer cuadro de la película la cámara se acercaba a Justino, al final adquiere conciencia de que su presencia es también una irrupción. A medida que él regresa al bosque, el plano es inverso. Se lo ve de espaldas mientras se adentra entre los árboles y deja a su paso un ápice de resistencia utópica. Un analgésico no es ni será nunca suficiente para paliar el dolor de estar desapareciendo del mundo, porque la fiebre es tan solo un síntoma de un problema mayor. </span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional de largometrajes del </span></i><a href=\"http://femcine.cl/\"><i><span style=\"font-weight: 400;\">FEMCINE</span></i></a><i><span style=\"font-weight: 400;\"> 2020 - Festival de cine de mujeres</span></i>','A febre (2019)','','inherit','closed','closed','','1301-revision-v1','','','2020-08-07 14:46:49','2020-08-07 18:46:49','',1301,'http://lapistoladechejov.com/2020/08/07/1301-revision-v1/',0,'revision','',0),(1159,2,'2020-03-03 18:02:17','2020-03-03 21:02:17','<h2><b>Morbo repulsivo.</b></h2>\n<p><span style=\"font-weight: 400;\">Dirigida por Fatih Akin, </span><b><i>El monstruo de St. Pauli</i></b> <span style=\"font-weight: 400;\">(2019) se encuentra, sin lugar a dudas, entre las películas más difíciles de tolerar, y a la vez, entre las más repulsivas, donde la fascinación por el horror deviene en morbo hacia la violencia despiadada presente en los crímenes reales cometidos por Fritz Honka, un asesino serial alemán que durante los años ‘70 asesinó a por lo menos cuatro mujeres que trabajaban en la zona roja de Hamburgo.</span></p>\n<p><span style=\"font-weight: 400;\">Honka es un hombre jorobado, de rostro desfigurado, que babea y se retuerce con sus tics nerviosos. Su físico genera tanto disgusto que una de las prostitutas exclama que no sería capaz de orinar sobre “eso” ni aunque estuviese en fuego. Es sobreviviente de un campo de concentración ruso, y además de xenofóbico, es impotente, lo que agudiza la furia que descarga sobre las mujeres a las que posee como un mero objeto. Además de Honka, un catálogo de personajes miserables, entre ellos borrachos, ex militares desfigurados y prostitutas que frecuentan el bar El guante dorado, ilustran la absoluta decadencia social de la Alemania de la posguerra. </span></p>\n<p><span style=\"font-weight: 400;\">Dentro de este mundo decrépito, Akin exhibe la monstruosidad del criminal con una narrativa realista que expone con detalle los crímenes terroríficos. Una interminable secuencia inicial donde el asesino descuartiza a su primera víctima es tan solo un indicio del horror que recién empieza, pues la violencia gráfica solo irá en aumento. En la fotografía, la utilización del fuera de campo ahorra, aunque sea con timidez, enfrentarse a los actos sádicos de Honka que ocurren fuera del cuadro de visión, o a través de la puerta entrecerrada del dormitorio. Pero si en lo visual existe una prudencia que parece medirse, el diseño sonoro estimula el asco y revuelve el estómago a tal punto que es posible percibir los olores ese espacio hediondo donde habita Honka, y donde sabemos que se esconden los cuerpos en descomposición.</span></p>\n<p><span style=\"font-weight: 400;\">También conocido como el destripador de St. Pauli, Honka no solo mataba a sus víctimas mujeres, sino que antes de morir, ellas también sufrían agresiones físicas y violaciones salvajes. Ya sin vida, sus cuerpos eran mutilados y desmembrados en trozos de carne que luego él escondería entre las paredes de su casa mientras sus vecinos de abajo cenaban plácidamente. Este personaje que invadía lo cotidiano, que vivía en el ático de una familia ordinaria, no resulta ser una simple pesadilla de la cual despertar, ni mucho menos puede leerse como el reflejo de los miedos de una época que se materializa en un ser bestial o ficticio, como suele ocurrir en el cine de terror. El destripador existió, y ahora perdura como espectáculo mediante la película de Akin.</span></p>\n<p><span style=\"font-weight: 400;\">¿Cómo es posible que existan hombres capaces de cometer dichas atrocidades? Si esta pregunta carece de respuesta concreta, y en la película es una arista no explorada, resulta aún peor asumir que el relato no se sitúa tan alejado a nuestra realidad. Historias de terror tan macabras como esta invaden las noticias locales frente a nuestros ojos vendados por la sociedad machista que se niega a asumir que el feminicidio es una epidemia,  y que esto asusta más que un personaje ya fallecido. Quizás en esto radica el valor de soportar, a costa de arcadas constantes, </span><b><i>El monstruo de St. Pauli</i></b><b>, </b><span style=\"font-weight: 400;\">como una advertencia a que monstruos hay miles, que ellos viven entre nosotros, y que, a diferencia de Honka, pasan desapercibidos. </span></p>\n<p><span style=\"font-weight: 400;\">Ver tráiler:</span></p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=AeE0QNjNaH4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=AeE0QNjNaH4\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El monstruo de St. Pauli (2019)','','publish','open','open','','el-monstruo-de-st-pauli-2019','','','2020-03-03 18:02:25','2020-03-03 21:02:25','',0,'http://lapistoladechejov.com/?p=1159',0,'post','',0),(1160,2,'2020-03-03 18:00:43','2020-03-03 21:00:43','<iframe title=\"The Golden Glove - Official SFW Trailer HD\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/AeE0QNjNaH4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','873cb78859fd3153d3d915f765792ea4','','','2020-03-03 18:00:43','2020-03-03 21:00:43','',0,'http://lapistoladechejov.com/2020/03/03/873cb78859fd3153d3d915f765792ea4/',0,'oembed_cache','',0),(1161,2,'2020-03-03 18:00:52','2020-03-03 21:00:52','El monstruo de St. Pauli ','the golden 1','','inherit','open','closed','','the-golden-1','','','2020-03-03 18:01:04','2020-03-03 21:01:04','',1159,'http://lapistoladechejov.com/wp-content/uploads/2020/03/the-golden-1.jpeg',0,'attachment','image/jpeg',0),(1162,2,'2020-03-03 18:01:53','2020-03-03 21:01:53','<h2><b>Morbo repulsivo.</b></h2>\n<p><span style=\"font-weight: 400;\">Dirigida por Fatih Akin, </span><b><i>El monstruo de St. Pauli</i></b> <span style=\"font-weight: 400;\">(2019) se encuentra, sin lugar a dudas, entre las películas más difíciles de tolerar, y a la vez, entre las más repulsivas, donde la fascinación por el horror deviene en morbo hacia la violencia despiadada presente en los crímenes reales cometidos por Fritz Honka, un asesino serial alemán que durante los años ‘70 asesinó a por lo menos cuatro mujeres que trabajaban en la zona roja de Hamburgo.</span></p>\n<p><span style=\"font-weight: 400;\">Honka es un hombre jorobado, de rostro desfigurado, que babea y se retuerce con sus tics nerviosos. Su físico genera tanto disgusto que una de las prostitutas exclama que no sería capaz de orinar sobre “eso” ni aunque estuviese en fuego. Es sobreviviente de un campo de concentración ruso, y además de xenofóbico, es impotente, lo que agudiza la furia que descarga sobre las mujeres a las que posee como un mero objeto. Además de Honka, un catálogo de personajes miserables, entre ellos borrachos, ex militares desfigurados y prostitutas que frecuentan el bar El guante dorado, ilustran la absoluta decadencia social de la Alemania de la posguerra. </span></p>\n<p><span style=\"font-weight: 400;\">Dentro de este mundo decrépito, Akin exhibe la monstruosidad del criminal con una narrativa realista que expone con detalle los crímenes terroríficos. Una interminable secuencia inicial donde el asesino descuartiza a su primera víctima es tan solo un indicio del horror que recién empieza, pues la violencia gráfica solo irá en aumento. En la fotografía, la utilización del fuera de campo ahorra, aunque sea con timidez, enfrentarse a los actos sádicos de Honka que ocurren fuera del cuadro de visión, o a través de la puerta entrecerrada del dormitorio. Pero si en lo visual existe una prudencia que parece medirse, el diseño sonoro estimula el asco y revuelve el estómago a tal punto que es posible percibir los olores ese espacio hediondo donde habita Honka, y donde sabemos que se esconden los cuerpos en descomposición.</span></p>\n<p><span style=\"font-weight: 400;\">También conocido como el destripador de St. Pauli, Honka no solo mataba a sus víctimas mujeres, sino que antes de morir, ellas también sufrían agresiones físicas y violaciones salvajes. Ya sin vida, sus cuerpos eran mutilados y desmembrados en trozos de carne que luego él escondería entre las paredes de su casa mientras sus vecinos de abajo cenaban plácidamente. Este personaje que invadía lo cotidiano, que vivía en el ático de una familia ordinaria, no resulta ser una simple pesadilla de la cual despertar, ni mucho menos puede leerse como el reflejo de los miedos de una época que se materializa en un ser bestial o ficticio, como suele ocurrir en el cine de terror. El destripador existió, y ahora perdura como espectáculo mediante la película de Akin.</span></p>\n<p><span style=\"font-weight: 400;\">¿Cómo es posible que existan hombres capaces de cometer dichas atrocidades? Si esta pregunta carece de respuesta concreta, y en la película es una arista no explorada, resulta aún peor asumir que el relato no se sitúa tan alejado a nuestra realidad. Historias de terror tan macabras como esta invaden las noticias locales frente a nuestros ojos vendados por la sociedad machista que se niega a asumir que el feminicidio es una epidemia,  y que esto asusta más que un personaje ya fallecido. Quizás en esto radica el valor de soportar, a costa de arcadas constantes, </span><b><i>El monstruo de St. Pauli</i></b><b>, </b><span style=\"font-weight: 400;\">como una advertencia a que monstruos hay miles, que ellos viven entre nosotros, y que, a diferencia de Honka, pasan desapercibidos. </span></p>\n<p><span style=\"font-weight: 400;\">Ver tráiler:</span></p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=AeE0QNjNaH4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=AeE0QNjNaH4\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El monstruo de St. Pauli (2019)','','inherit','closed','closed','','1159-revision-v1','','','2020-03-03 18:01:53','2020-03-03 21:01:53','',1159,'http://lapistoladechejov.com/2020/03/03/1159-revision-v1/',0,'revision','',0),(1165,2,'2020-03-10 13:32:42','2020-03-10 16:32:42','Matar a un muerto','matar a un muer','','inherit','open','closed','','matar-a-un-muer','','','2020-03-10 13:33:16','2020-03-10 16:33:16','',1164,'http://lapistoladechejov.com/wp-content/uploads/2020/03/matar-a-un-muer.jpg',0,'attachment','image/jpeg',0),(1166,2,'2020-03-10 13:33:36','2020-03-10 16:33:36','<h2>Horror austero.</h2>\n<p><span style=\"font-weight: 400;\">En un país que acarrea aún con los vestigios de la sociedad del silencio, cimentada por la dictadura opresiva de Alfredo Stroessner (entre otras cosas), voces que urgen hablar sobre la historia desatendida de un pueblo evidencian una desesperación por </span><span style=\"font-weight: 400;\">instaurar un</span><span style=\"font-weight: 400;\">a memoria colectiva, no sólo para comprender nuestro presente, sino vaticinar en cierta manera el devenir. Es así que las manifestaciones artísticas se ven impregnadas de impávidos gritos que conforman un registro testimonial de estos relatos desconocidos, como una voluntad de conservar lo intangible.</span></p>\n<p><b><i>Matar a un muerto </i></b><span style=\"font-weight: 400;\">recurre a la austeridad para ilustrar una maquinaria de opresión totalitaria que estaba ocurriendo a gran escala en toda latinoamérica; mientras el mundial del fútbol del ‘78 desviaba la atención hacia la trivialidad del entretenimiento, dos hombres eran encargados de enterrar los cuerpos de las víctimas de la dictadura, aquellos que pasarían a conformar la larga lista de los desaparecidos. Situar el relato en un lugar tan desolado sin nada más que dos personajes en las cercanías de la orilla implica encontrar en la belleza del bosque tupido la sombra del poder absoluto que todo lo ve y todo lo sabe, de la desconfianza suscitada hacia tu propio vecino y del pavor a caer en manos de la Técnica solo por encontrarte en el lugar equivocado en el momento equivocado.</span></p>\n<p><span style=\"font-weight: 400;\">El horror del periodo dictatorial paraguayo adopta aquí la forma de cuerpos anónimos con los cuales los sepultureros tienen una extraña relación pues pueden succionar el jugo de un pomelo mientras las moscas frenéticas cubren los bultos, o contemplar un seno en plena descomposición, pero ejecutar a un “paquete” que respira resulta imposible. El hombre es capaz de cometer actos atroces, como un engranaje más dentro de un sistema opresor encargado de despojarlos de su capacidad de reflexión. Esto ya nos ha enseñado la obra de Hannah Arendt y su análisis exhaustivo sobre la historia, pero es en la ausencia de este mal mayor donde yace una sensación de extrañeza hacia los personajes de la película. Es incierto determinar el porqué de su presencia en Kokue 5, la extraña relación de poder de uno sobre el otro, y, lo más importante, aquello que está en riesgo si desobedecen las órdenes emitidas por radio; aquellos mecanismos eficaces que tan bien aprendió a dominar la fuerza policiaca se encuentran en un fuera de cuadro remoto que por su lejanía no asusta, tan quimérico y superficial como la leyenda de un perro sediento de sangre. </span></p>\n<p><span style=\"font-weight: 400;\">Pero el miedo no requiere de grandilocuentes artilugios, basta con la emisión radial que alude al famoso programa “La Voz del coloradismo” para desenmascarar las políticas de propaganda y desinformación durante el siniestro periodo donde hoy es sabido que a diario se cometían violaciones a los derechos humanos. En este sentido, un título sobreimpreso ya constituye una obviedad cuando el horror de lo invisible debería inmiscuirse y reflejarse en la piel curtida de sus personajes y sus rostros abatidos por la macabra labor que se les encomienda. El ingenio del nombre que implica cometer un acto imposible se traduce en merodeos truncados, carentes de introspección hasta el momento climático donde el azar entra en juego más que un punto de inflexión narrativa. </span></p>\n<p><span style=\"font-weight: 400;\">A través de sus imágenes, el cine confronta al espectador con la idea de una realidad preconcebida que invita a vislumbrar una interpretación del mundo, y si al cine histórico nos referimos, el acercamiento podría ser más directo. No obstante, la mera exposición carece de fervor. </span><b><i>Matar a un muerto</i></b><span style=\"font-weight: 400;\"> es correcta en lo demarcativo que podría resultar este adjetivo en cuanto se trate a una película que aborda semejante temática; palpar la atrocidad de la dictadura teniendo en consideración los vestigios culturales que aún acarreamos reclama una dirección arriesgada, intrépida si se quiere, que incomode y recuerde que los huesos de sus víctimas aún subyacen en tierras desconocidas, así como aquellas heridas emocionales que se hallan bajo la coraza de la idiosincrasia paraguaya, y que conserva en su ignorancia a esta sociedad intolerante.  </span></p>\n<p><span style=\"font-weight: 400;\">Ver tráiler:</span></p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=byTJimHJI0Y\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=byTJimHJI0Y\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Matar a un muerto (2020)','','inherit','closed','closed','','1164-revision-v1','','','2020-03-10 13:33:36','2020-03-10 16:33:36','',1164,'http://lapistoladechejov.com/2020/03/10/1164-revision-v1/',0,'revision','',0),(1167,2,'2020-03-10 13:33:36','2020-03-10 16:33:36','<iframe title=\"Matar a un Muerto / Killing the Dead - TRAILER OFICIAL DE LA PELÍCULA\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/byTJimHJI0Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','576ac122a4850087a471215f6a1756a3','','','2020-03-10 13:33:36','2020-03-10 16:33:36','',0,'http://lapistoladechejov.com/2020/03/10/576ac122a4850087a471215f6a1756a3/',0,'oembed_cache','',0),(1180,2,'2020-04-01 09:52:36','2020-04-01 13:52:36','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"alignleft size-thumbnail wp-image-1093\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3-150x150.jpg\" alt=\"Bacurau\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Más brutal que la fantasía. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/bacurau/\">http://www.elespectadorimaginario.com/bacurau/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1175\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Amor en tiempos de mafia. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/first-love/\">http://www.elespectadorimaginario.com/first-love/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1176\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Resistiendo al tiempo. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/resistiendo-al-tiempo/\">http://www.elespectadorimaginario.com/resistiendo-al-tiempo/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1177\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Serge Daney y la Cahiers. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/\">http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1178\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). Elegante violencia al estilo neo-noir. El espectador Imaginario, (110). <a href=\"http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/\">http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1179\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). El precio del martirio. El espectador Imaginario, (110). <a href=\"https://www.elespectadorimaginario.com/vida-oculta/\">https://www.elespectadorimaginario.com/vida-oculta/</a></p>\n<p> </p>\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2020-04-01 09:52:36','2020-04-01 13:52:36','',812,'http://lapistoladechejov.com/2020/04/01/812-revision-v1/',0,'revision','',0),(1184,2,'2020-04-08 16:23:17','2020-04-08 20:23:17','<h2>Una linterna en los sinfines de la mina.</h2>\n<p><span style=\"font-weight: 400;\">Al final de un pasillo oscuro, donde no se ve más que un pequeño fragmento de la calle, un joven escapa de sus persecutores y se refugia en un bar. Las luces de neón salpican sobre su cuerpo, pero el amparo del anonimato será fugaz pues también tendrá que salir corriendo de ahí. Este es Elder, un chico absorbido por la noche y el alcohol, quien huye incapaz de encontrar consuelo ni siquiera en los lugares de cobijo momentáneo. Pero cuando muere su padre, Elder se muda a vivir con su abuela en un poblado desolado y queda a cargo de su padrino, un minero de la zona. </span></p>\n<p><b><i>Viejo Calavera,</i></b><span style=\"font-weight: 400;\"> opera prima del director boliviano Kiro Russo, se sumerge en la oscuridad absoluta de la mina de Huanuni, con una fotografía que nos inunda de negro y solo alumbra las siluetas de sus personajes con la luz de la linterna de los cascos para narrar el viaje de Elder en los sinfines de las cavernas mineras. Esta decisión estética, dada por el realismo de las características físicas y ópticas que supone estar a varios metros bajo el suelo, obliga a uno a entornar los ojos, a acostumbrarse a una visión renegrida. Pero más que sofocar, la puesta en escena ilustra en la estilización de su fotografía cuidada, una sensación de veneración y reverencia hacia aquello que filma, porque reconoce fuera del cine la existencia real de la problemática de esta clase social obrera desatendida, expuesta a los peligros diarios del oficio y a las duras condiciones de trabajo que implican una condena anticipada.</span></p>\n<p><span style=\"font-weight: 400;\">Dentro de los túneles, la mirada de Russo transita entre la búsqueda de consuelo en los laberintos de la mina y las dinámicas de conflicto entre los mineros. La relación de Elder con su familia es incierta y el porqué del actuar del padrino es confuso, ya que asume como mártir las consecuencias de los constantes conflictos provocados por su ahijado. Pero no es necesario comprenderlo todo para percibir el dolor del duelo y las emociones suscitadas tras la pérdida del padre de Elder. Se insinúan ciertos roces, que esbozan conjeturas posibles sobre el accidente de este último, y se alude al hartazgo de los demás hacia Elder o la impaciencia suya hacia los que le rodean, con el mismo valor que ocupa en la trama el espíritu de lucha y revolución en la mina, lo que añade una dimensión insondable a sus personajes y al contexto de explotación laboral donde se mueven. </span></p>\n<p><span style=\"font-weight: 400;\">Tanto fuera como adentro es de noche; hasta el alba está eclipsado por el sol que nunca sale, y cuando lo hace es para calentar los rostros de los mineros que disfrutan la paz de un viaje merecido. Entre el sudor y las rocas frías, el ocio y el descanso, la imagen de Russo cautiva y embellece con impresiones sobre el tiempo y el luto. Sus planos generales se detienen sobre el andar de los mineros al fondo de la caverna, donde el halo luminoso se va alejando sin prisa alguna, o en los lentos paneos y <em>travellings</em> que revelan casi de paso conversaciones cotidianas dentro y fuera de la mina. De la misma manera, la maquinaria pesada ocupa una secuencia predominante editada como un homenaje al cine soviético de las primeras décadas del siglo XX, donde el traqueteo del hierro susurra las voces de un cine boliviano comprometido con las problemáticas propias de su país. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Viejo Calavera</i></b> <span style=\"font-weight: 400;\">se sugiere más de lo sus personajes pueden decir en palabras, porque en el silencio y en la estética de sus imágenes inmersivas se haya la poética fílmica de un director tan inmiscuido en el mundo que retrata que iluminar las minas para que la cámara lo capte es echar luz sobre la historia política de Bolivia. </span></p>\n<p><span style=\"font-weight: 400;\">Ver ahora:</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/162318171\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/162318171\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Viejo Calavera (2016)','','publish','open','open','','viejo-calavera-2016','','\nhttps://vimeo.com/162318171','2020-04-08 16:23:22','2020-04-08 20:23:22','',0,'http://lapistoladechejov.com/?p=1184',0,'post','',0),(1182,2,'2020-04-01 09:53:31','2020-04-01 13:53:31','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"alignleft size-thumbnail wp-image-1093\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3-150x150.jpg\" alt=\"Bacurau\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Más brutal que la fantasía. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/bacurau/\">http://www.elespectadorimaginario.com/bacurau/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1175\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Amor en tiempos de mafia. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/first-love/\">http://www.elespectadorimaginario.com/first-love/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1176\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Resistiendo al tiempo. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/resistiendo-al-tiempo/\">http://www.elespectadorimaginario.com/resistiendo-al-tiempo/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1177\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Serge Daney y la Cahiers. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/\">http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1178\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). Elegante violencia al estilo neo-noir. El espectador Imaginario, (110). <a href=\"http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/\">http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1179\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). El precio del martirio. El espectador Imaginario, (110). <a href=\"https://www.elespectadorimaginario.com/vida-oculta/\">https://www.elespectadorimaginario.com/vida-oculta/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2020-04-01 09:53:31','2020-04-01 13:53:31','',812,'http://lapistoladechejov.com/2020/04/01/812-revision-v1/',0,'revision','',0),(1188,2,'2020-04-08 16:23:17','2020-04-08 20:23:17','<h2>Una linterna en los sinfines de la mina.</h2>\n<p><span style=\"font-weight: 400;\">Al final de un pasillo oscuro, donde no se ve más que un pequeño fragmento de la calle, un joven escapa de sus persecutores y se refugia en un bar. Las luces de neón salpican sobre su cuerpo, pero el amparo del anonimato será fugaz pues también tendrá que salir corriendo de ahí. Este es Elder, un chico absorbido por la noche y el alcohol, quien huye incapaz de encontrar consuelo ni siquiera en los lugares de cobijo momentáneo. Pero cuando muere su padre, Elder se muda a vivir con su abuela en un poblado desolado y queda a cargo de su padrino, un minero de la zona. </span></p>\n<p><b><i>Viejo Calavera,</i></b><span style=\"font-weight: 400;\"> opera prima del director boliviano Kiro Russo, se sumerge en la oscuridad absoluta de la mina de Huanuni, con una fotografía que nos inunda de negro y solo alumbra las siluetas de sus personajes con la luz de la linterna de los cascos para narrar el viaje de Elder en los sinfines de las cavernas mineras. Esta decisión estética, dada por el realismo de las características físicas y ópticas que supone estar a varios metros bajo el suelo, obliga a uno a entornar los ojos, a acostumbrarse a una visión renegrida. Pero más que sofocar, la puesta en escena ilustra en la estilización de su fotografía cuidada, una sensación de veneración y reverencia hacia aquello que filma, porque reconoce fuera del cine la existencia real de la problemática de esta clase social obrera desatendida, expuesta a los peligros diarios del oficio y a las duras condiciones de trabajo que implican una condena anticipada.</span></p>\n<p><span style=\"font-weight: 400;\">Dentro de los túneles, la mirada de Russo transita entre la búsqueda de consuelo en los laberintos de la mina y las dinámicas de conflicto entre los mineros. La relación de Elder con su familia es incierta y el porqué del actuar del padrino es confuso, ya que asume como mártir las consecuencias de los constantes conflictos provocados por su ahijado. Pero no es necesario comprenderlo todo para percibir el dolor del duelo y las emociones suscitadas tras la pérdida del padre de Elder. Se insinúan ciertos roces, que esbozan conjeturas posibles sobre el accidente de este último, y se alude al hartazgo de los demás hacia Elder o la impaciencia suya hacia los que le rodean, con el mismo valor que ocupa en la trama el espíritu de lucha y revolución en la mina, lo que añade una dimensión insondable a sus personajes y al contexto de explotación laboral donde se mueven. </span></p>\n<p><span style=\"font-weight: 400;\">Tanto fuera como adentro es de noche; hasta el alba está eclipsado por el sol que nunca sale, y cuando lo hace es para calentar los rostros de los mineros que disfrutan la paz de un viaje merecido. Entre el sudor y las rocas frías, el ocio y el descanso, la imagen de Russo cautiva y embellece con impresiones sobre el tiempo y el luto. Sus planos generales se detienen sobre el andar de los mineros al fondo de la caverna, donde el halo luminoso se va alejando sin prisa alguna, o en los lentos paneos y <em>travellings</em> que revelan casi de paso conversaciones cotidianas dentro y fuera de la mina. De la misma manera, la maquinaria pesada ocupa una secuencia predominante editada como un homenaje al cine soviético de las primeras décadas del siglo XX, donde el traqueteo del hierro susurra las voces de un cine boliviano comprometido con las problemáticas propias de su país. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Viejo Calavera</i></b> <span style=\"font-weight: 400;\">se sugiere más de lo sus personajes pueden decir en palabras, porque en el silencio y en la estética de sus imágenes inmersivas se haya la poética fílmica de un director tan inmiscuido en el mundo que retrata que iluminar las minas para que la cámara lo capte es echar luz sobre la historia política de Bolivia. </span></p>\n<p><span style=\"font-weight: 400;\">Ver ahora:</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/162318171\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/162318171\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Viejo Calavera (2016)','','inherit','closed','closed','','1184-revision-v1','','','2020-04-08 16:23:17','2020-04-08 20:23:17','',1184,'http://lapistoladechejov.com/2020/04/08/1184-revision-v1/',0,'revision','',0),(1190,2,'2020-05-01 15:33:49','2020-05-01 19:33:49','<h2>Fuego y baile sobre Valparaíso.</h2>\n<p><span style=\"font-weight: 400;\">A excepción de su anterior biopic en inglés</span><b><i> Jackie</i></b><span style=\"font-weight: 400;\"> (2016), Pablo Larraín ha recorrido a través de su cine por la historia política y social de Chile y ha ilustrado con crudeza indecorosa los vestigios de una memoria colectiva marcada indiscutiblemente por el régimen militar de Augusto Pinochet; desde </span><b><i>Tony Manero</i></b><span style=\"font-weight: 400;\"> (2008) a </span><b><i>El Club</i></b><span style=\"font-weight: 400;\"> (2015), la ficción ha sido la lente mediante la cual Larraín ha observado personajes encuadrados en plena fricción con la inestabilidad de su ambiente. Sin embargo, en </span><b><i>Ema</i></b><span style=\"font-weight: 400;\"> (2019), el director chileno regresa a las calles de Valparaíso con una historia de deseo y culpa que indaga una Chile actual al fervor del fuego y del baile.</span></p>\n<p><span style=\"font-weight: 400;\">En medio de una calle vacía, Ema observa cómo arde un semáforo que ella misma ha prendido fuego con un lanzallamas. La contemplación es catalítica, excitante quizás, al suponer el peligro que atañe rebelarse contra las normas. Ni parar, ni reducir la velocidad, ni seguir: por de pronto, quemar. Es que asumir la incapacidad de criar a un hijo supone una tremenda madurez, o al menos un reconocimiento de la propia fragilidad e ineptitud frente a un estadio de la vida socialmente impuesto. Por otra parte, devolver a un hijo adoptivo, ante los ojos de las familias que se jactan de su carácter conservador escudado por la palabra “tradicional”, es un pecado. Y esto es lo que ocurre con Ema, una joven bailarina que luego de un incidente, toma la decisión de regresar a Polo a las oficinas de adopción. Además de lidiar con las consecuencias de los altercados producidos por su hijo, se separa de su pareja Gastón, el coreógrafo de la compañía de danza a la que pertenece.</span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Ema, </i></b><span style=\"font-weight: 400;\">el ritmo frenético y agresivo del reggaetón describe los andares de la bailarina, quien en compañía de sus amigas transita las calles del puerto desahogando la angustia con los movimientos de su cuerpo que se mueve insaciable entre el calor de los amantes casuales y la libertad que encuentra en el sexo. El tiempo del relato acompasado salta entre momentos de dolorosa intimidad donde el primer plano acapara el cuadro para confesar los miedos más profundos a secuencias de baile desplegadas con la ciudad como telón de fondo donde la danza emancipa las emociones del cuerpo; la temporalidad cronológica cede a las emociones y al ritmo. En la fotografía, la estilización de tonos contrastantes tiñe el deseo de matices estridentes, un deseo que no es uno solo, pero que adopta diversas formas, desde el apetito del rosado al verde del capricho. La tranquilidad del errar cotidiano se ve irrumpido por sutiles movimientos de cámara que revelan casi de paso algún atisbo de las intenciones de Ema en proceso de duelo. </span></p>\n<p><span style=\"font-weight: 400;\">De la misma manera, el tira y afloje entre Ema y Gastón traza otro tipo de baile, como si los diálogos hirientes entre ellos fueran provocaciones y respuestas corporales de una coreografía compleja de antagonista contra antagonista, pues la violencia del baile invade además las relaciones personales. Entre el dolor de la ruptura y el remordimiento, Larraín delinea un matrimonio particular donde ambas partes no pierden oportunidad alguna para atacarse a sabiendas de las represalias inevitables, ella en la infertilidad de Gastón, y él en la fragilidad maternal de ella como si ambos aspectos fueran impedimentos disfuncionales para forjar una familia. </span></p>\n<p><b><i>Ema</i></b><span style=\"font-weight: 400;\"> es un diálogo constante entre las llamas y el sudor, la belleza sublime del fuego y aquello que debe arder donde el inconformismo de una generación encuentra su rebeldía en los escenarios urbanos contemporáneos. Para Larraín, así como es posible hallar la liberación corporal y sexual hasta en los ritmos más monótonos, es posible habitar el dolor y el odio a la vez, o el deseo y la repulsión, porque en la vida nada es tan tajante como las luces de un semáforo.</span></p>\n<p>Disponible HOY 01/05/2020 por 24 hs. en Mubi:</p>\n<p><a href=\"https://mubi.com/es/films/ema-2019\">https://mubi.com/es/films/ema-2019</a></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=kPwXkr3F7VU\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=kPwXkr3F7VU\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Ema (2019)','','publish','open','open','','ema-2019','','','2020-05-01 15:33:54','2020-05-01 19:33:54','',0,'http://lapistoladechejov.com/?p=1190',0,'post','',0),(1191,2,'2020-05-01 15:29:56','2020-05-01 19:29:56','Ema','ema 1','','inherit','open','closed','','ema-1','','','2020-05-01 15:30:08','2020-05-01 19:30:08','',1190,'http://lapistoladechejov.com/wp-content/uploads/2020/05/ema-1.jpg',0,'attachment','image/jpeg',0),(1192,2,'2020-05-01 15:30:01','2020-05-01 19:30:01','<iframe title=\"Ema | Trailer oficial [HD] | Fabula\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/kPwXkr3F7VU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','1c6cca09f69439f88bcc5bcdde66c19a','','','2020-05-01 15:30:01','2020-05-01 19:30:01','',0,'http://lapistoladechejov.com/2020/05/01/1c6cca09f69439f88bcc5bcdde66c19a/',0,'oembed_cache','',0),(1193,2,'2020-05-01 15:30:11','2020-05-01 19:30:11','<h2>Fuego y baile sobre Valparaíso.</h2>\n<p><span style=\"font-weight: 400;\">A excepción de su anterior biopic en inglés</span><b><i> Jackie</i></b><span style=\"font-weight: 400;\"> (2016), Pablo Larraín ha recorrido a través de su cine por la historia política y social de Chile y ha ilustrado con crudeza indecorosa los vestigios de una memoria colectiva marcada indiscutiblemente por el régimen militar de Augusto Pinochet; desde </span><b><i>Tony Manero</i></b><span style=\"font-weight: 400;\"> (2008) a </span><b><i>El Club</i></b><span style=\"font-weight: 400;\"> (2015), la ficción ha sido la lente mediante la cual Larraín ha observado personajes encuadrados en plena fricción con la inestabilidad de su ambiente. Sin embargo, en </span><b><i>Ema</i></b><span style=\"font-weight: 400;\"> (2019), el director chileno regresa a las calles de Valparaíso con una historia de deseo y culpa que indaga una Chile actual al fervor del fuego y del baile.</span></p>\n<p><span style=\"font-weight: 400;\">En medio de una calle vacía, Ema observa cómo arde un semáforo que ella misma ha prendido fuego con un lanzallamas. La contemplación es catalítica, excitante quizás, al suponer el peligro que atañe rebelarse contra las normas. Ni parar, ni reducir la velocidad, ni seguir: por de pronto, quemar. Es que asumir la incapacidad de criar a un hijo supone una tremenda madurez, o al menos un reconocimiento de la propia fragilidad e ineptitud frente a un estadio de la vida socialmente impuesto. Por otra parte, devolver a un hijo adoptivo, ante los ojos de las familias que se jactan de su carácter conservador escudado por la palabra “tradicional”, es un pecado. Y esto es lo que ocurre con Ema, una joven bailarina que luego de un incidente, toma la decisión de regresar a Polo a las oficinas de adopción. Además de lidiar con las consecuencias de los altercados producidos por su hijo, se separa de su pareja Gastón, el coreógrafo de la compañía de danza a la que pertenece.</span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Ema, </i></b><span style=\"font-weight: 400;\">el ritmo frenético y agresivo del reggaetón describe los andares de la bailarina, quien en compañía de sus amigas transita las calles del puerto desahogando la angustia con los movimientos de su cuerpo que se mueve insaciable entre el calor de los amantes casuales y la libertad que encuentra en el sexo. El tiempo del relato acompasado salta entre momentos de dolorosa intimidad donde el primer plano acapara el cuadro para confesar los miedos más profundos a secuencias de baile desplegadas con la ciudad como telón de fondo donde la danza emancipa las emociones del cuerpo; la temporalidad cronológica cede a las emociones y al ritmo. En la fotografía, la estilización de tonos contrastantes tiñe el deseo de matices estridentes, un deseo que no es uno solo, pero que adopta diversas formas, desde el apetito del rosado al verde del capricho. La tranquilidad del errar cotidiano se ve irrumpido por sutiles movimientos de cámara que revelan casi de paso algún atisbo de las intenciones de Ema en proceso de duelo. </span></p>\n<p><span style=\"font-weight: 400;\">De la misma manera, el tira y afloje entre Ema y Gastón traza otro tipo de baile, como si los diálogos hirientes entre ellos fueran provocaciones y respuestas corporales de una coreografía compleja de antagonista contra antagonista, pues la violencia del baile invade además las relaciones personales. Entre el dolor de la ruptura y el remordimiento, Larraín delinea un matrimonio particular donde ambas partes no pierden oportunidad alguna para atacarse a sabiendas de las represalias inevitables, ella en la infertilidad de Gastón, y él en la fragilidad maternal de ella como si ambos aspectos fueran impedimentos disfuncionales para forjar una familia. </span></p>\n<p><b><i>Ema</i></b><span style=\"font-weight: 400;\"> es un diálogo constante entre las llamas y el sudor, la belleza sublime del fuego y aquello que debe arder donde el inconformismo de una generación encuentra su rebeldía en los escenarios urbanos contemporáneos. Para Larraín, así como es posible hallar la liberación corporal y sexual hasta en los ritmos más monótonos, es posible habitar el dolor y el odio a la vez, o el deseo y la repulsión, porque en la vida nada es tan tajante como las luces de un semáforo.</span></p>\n<p>Disponible HOY 01/05/2020 por 24 hs. en Mubi:</p>\n<p><a href=\"https://mubi.com/es/films/ema-2019\">https://mubi.com/es/films/ema-2019</a></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=kPwXkr3F7VU\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=kPwXkr3F7VU\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Ema (2019)','','inherit','closed','closed','','1190-revision-v1','','','2020-05-01 15:30:11','2020-05-01 19:30:11','',1190,'http://lapistoladechejov.com/2020/05/01/1190-revision-v1/',0,'revision','',0),(1194,2,'2020-05-01 15:33:11','2020-05-01 19:33:11','','ema 4','','inherit','open','closed','','ema-4','','','2020-05-01 15:33:23','2020-05-01 19:33:23','',1190,'http://lapistoladechejov.com/wp-content/uploads/2020/05/ema-4.jpg',0,'attachment','image/jpeg',0),(1196,2,'2020-05-26 12:14:45','2020-05-26 16:14:45','<h3><i><span style=\"font-weight: 400;\">Cuando termines de ver El futuro perfecto, ella habrá aprendido hablar castellano.</span></i></h3>\n<p><span style=\"font-weight: 400;\">El futuro perfecto es un tiempo verbal extraño, dícese relativo, que indica acciones que tendrán lugar en el futuro pero antes que otra acción indicada también en la misma oración. También puede referirse a suposiciones, conjeturas inciertas sobre un porvenir también impreciso que se suceden en un estado de tiempo que ocurre antes del momento en que se habla. ¿Y si no se dice nada, no existe? ¿Y si la acción que debe ocurrir antes no ocurre o se interrumpe? ¿Habrá sido necesario crear este tiempo verbal? </span></p>\n<p><span style=\"font-weight: 400;\">Por el contrario, los chinos carecen de tiempos verbales. La lengua recurre entonces a ciertos elementos léxicos como preposiciones o partículas auxiliares, o bien al contexto o al orden de las palabras para construir oraciones que se refieran a las acciones del futuro y del pasado. Demás está decir que encontrar correspondencias o equivalencias entre la gramática china y la castellana es un arduo ejercicio. Pero vayamos a lo nuestro, que esto lo dejamos (por de pronto) a los lingüistas. </span></p>\n<p><b><i>El futuro perfecto</i></b><span style=\"font-weight: 400;\"> es un documental ficcionado, o una ficción documental donde la gramática de ambos dialectos teje los hilos entre dos culturas sumamente distintas. Xiaobin, quien no habla una sola palabra de castellano, se enfrenta a aquello que la cámara omite: un paisaje poblado por personas que hablan otro idioma, que se mueven hacia el lado contrario que ella, y que hablan con formas verbales desconocidas para ella. Estas figuras anónimas, siempre de espaldas para nosotros como espectadores, delimita una barrera visual que torna la incomunicación como objeto tangible. Si tenemos los subtítulos que nos facilita la compresión, en el plano no se nos permite interactuar con lo que la joven china observa. La sensación de omisión agobia. </span></p>\n<p><span style=\"font-weight: 400;\">A medida que Xiaobin aprende el idioma, aparecen otros personajes con los cuales ella logra congeniar mediante un lenguaje de aprendizaje institucional donde las frases herméticas indagan sobre las actividades y gustos del otro, pero no se interesa en conocer los miedos y las expectativas de alguien que dejó su país natal. En una escena en el subte, de regreso de una de sus clases de castellano, Xiaobin repasa las preguntas sobre las profesiones y oficios que hace unos momentos sus compañeras recitaban. ¿Es Ema una empresaria?, ilustra el texto. Ella levanta la mirada y observa a su alrededor. ¿Qué será esa mujer que viaja frente suyo? ¿Una empresaria? ¿Una camarera? Por primera y única vez, la gente local tiene un rostro visible que no devuelve la mirada pero que al menos se materializa en el cuadro. Al ser capaz de nombrar las cosas, éstas existen, como si el léxico diera vida al entorno, porque su libro puede ser un escudo y un visor a la vez. </span></p>\n<p><span style=\"font-weight: 400;\">Si el futuro perfecto es un tiempo verbal problemático, el futuro perfecto es también un sueño dudoso. Y si el tiempo verbal supone desenlaces incomprobables de líneas temporales divergentes, un futuro perfecto supone el idilio de la utopía, donde nada sobra y nada falta. Pero, ¿existe dicha fantasía o es un simple supuesto? ¿En qué tiempo verbal ocurre? ¿Cómo se filma un futuro perfecto?</span></p>\n<p><span style=\"font-weight: 400;\">En un desenlace que conjuga dichas hipótesis, Xiaobin actúa y narra su posible futuro asistido por personajes reales ahora vuelto actores, o quizás siempre fueron actores, y ella también actriz. Cada final, tan distinto uno del otro discurre sobre el impedimento que supone filmar lo que aún no ocurrió; sería más sencillo atrapar a un gato con una caja de madera. Pero más allá del colofón, lo que aquí nos interesa es cómo el título parte de la gramática y lo vuelve visual. Si la lengua es la manera en que nos movemos y pensamos al mundo, </span><b><i>El futuro perfecto </i></b><span style=\"font-weight: 400;\">encuentra la armonía de dos mundos en uno, de la manera de hablar a la manera de contar, de China a Argentina, de lo real a lo imaginario. Por suerte, el cine es un lenguaje del mundo. </span></p>\n<p><span style=\"font-weight: 400;\"><em><strong>El futuro perfecto</strong></em> se puede ver aquí: </span><a href=\"https://play.cine.ar/INCAA/produccion/5149\">https://play.cine.ar/INCAA/produccion/5149</a></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=twoCM9jmcxI\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=twoCM9jmcxI\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El futuro perfecto (2017)','','publish','open','open','','el-futuro-perfecto-2017','','','2020-05-26 12:14:49','2020-05-26 16:14:49','',0,'http://lapistoladechejov.com/?p=1196',0,'post','',0),(1197,2,'2020-05-26 12:11:45','2020-05-26 16:11:45','El futuro perfecto','el-futuro-perfecto','','inherit','open','closed','','el-futuro-perfecto','','','2020-05-26 12:12:09','2020-05-26 16:12:09','',1196,'http://lapistoladechejov.com/wp-content/uploads/2020/05/el-futuro-perfecto.jpeg',0,'attachment','image/jpeg',0),(1198,2,'2020-05-26 12:13:10','2020-05-26 16:13:10','<iframe title=\"EL FUTURO PERFECTO (2016) dir. Nele Wohlatz - Trailer\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/twoCM9jmcxI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','4b8c8d557754fa3f9edfe9b73f180175','','','2020-05-26 12:13:10','2020-05-26 16:13:10','',0,'http://lapistoladechejov.com/2020/05/26/4b8c8d557754fa3f9edfe9b73f180175/',0,'oembed_cache','',0),(1199,2,'2020-05-26 12:14:10','2020-05-26 16:14:10','<h3><i><span style=\"font-weight: 400;\">Cuando termines de ver El futuro perfecto, ella habrá aprendido hablar castellano.</span></i></h3>\n<p><span style=\"font-weight: 400;\">El futuro perfecto es un tiempo verbal extraño, dícese relativo, que indica acciones que tendrán lugar en el futuro pero antes que otra acción indicada también en la misma oración. También puede referirse a suposiciones, conjeturas inciertas sobre un porvenir también impreciso que se suceden en un estado de tiempo que ocurre antes del momento en que se habla. ¿Y si no se dice nada, no existe? ¿Y si la acción que debe ocurrir antes no ocurre o se interrumpe? ¿Habrá sido necesario crear este tiempo verbal? </span></p>\n<p><span style=\"font-weight: 400;\">Por el contrario, los chinos carecen de tiempos verbales. La lengua recurre entonces a ciertos elementos léxicos como preposiciones o partículas auxiliares, o bien al contexto o al orden de las palabras para construir oraciones que se refieran a las acciones del futuro y del pasado. Demás está decir que encontrar correspondencias o equivalencias entre la gramática china y la castellana es un arduo ejercicio. Pero vayamos a lo nuestro, que esto lo dejamos (por de pronto) a los lingüistas. </span></p>\n<p><b><i>El futuro perfecto</i></b><span style=\"font-weight: 400;\"> es un documental ficcionado, o una ficción documental donde la gramática de ambos dialectos teje los hilos entre dos culturas sumamente distintas. Xiaobin, quien no habla una sola palabra de castellano, se enfrenta a aquello que la cámara omite: un paisaje poblado por personas que hablan otro idioma, que se mueven hacia el lado contrario que ella, y que hablan con formas verbales desconocidas para ella. Estas figuras anónimas, siempre de espaldas para nosotros como espectadores, delimita una barrera visual que torna la incomunicación como objeto tangible. Si tenemos los subtítulos que nos facilita la compresión, en el plano no se nos permite interactuar con lo que la joven china observa. La sensación de omisión agobia. </span></p>\n<p><span style=\"font-weight: 400;\">A medida que Xiaobin aprende el idioma, aparecen otros personajes con los cuales ella logra congeniar mediante un lenguaje de aprendizaje institucional donde las frases herméticas indagan sobre las actividades y gustos del otro, pero no se interesa en conocer los miedos y las expectativas de alguien que dejó su país natal. En una escena en el subte, de regreso de una de sus clases de castellano, Xiaobin repasa las preguntas sobre las profesiones y oficios que hace unos momentos sus compañeras recitaban. ¿Es Ema una empresaria?, ilustra el texto. Ella levanta la mirada y observa a su alrededor. ¿Qué será esa mujer que viaja frente suyo? ¿Una empresaria? ¿Una camarera? Por primera y única vez, la gente local tiene un rostro visible que no devuelve la mirada pero que al menos se materializa en el cuadro. Al ser capaz de nombrar las cosas, éstas existen, como si el léxico diera vida al entorno, porque su libro puede ser un escudo y un visor a la vez. </span></p>\n<p><span style=\"font-weight: 400;\">Si el futuro perfecto es un tiempo verbal problemático, el futuro perfecto es también un sueño dudoso. Y si el tiempo verbal supone desenlaces incomprobables de líneas temporales divergentes, un futuro perfecto supone el idilio de la utopía, donde nada sobra y nada falta. Pero, ¿existe dicha fantasía o es un simple supuesto? ¿En qué tiempo verbal ocurre? ¿Cómo se filma un futuro perfecto?</span></p>\n<p><span style=\"font-weight: 400;\">En un desenlace que conjuga dichas hipótesis, Xiaobin actúa y narra su posible futuro asistido por personajes reales ahora vuelto actores, o quizás siempre fueron actores, y ella también actriz. Cada final, tan distinto uno del otro discurre sobre el impedimento que supone filmar lo que aún no ocurrió; sería más sencillo atrapar a un gato con una caja de madera. Pero más allá del colofón, lo que aquí nos interesa es cómo el título parte de la gramática y lo vuelve visual. Si la lengua es la manera en que nos movemos y pensamos al mundo, </span><b><i>El futuro perfecto </i></b><span style=\"font-weight: 400;\">encuentra la armonía de dos mundos en uno, de la manera de hablar a la manera de contar, de China a Argentina, de lo real a lo imaginario. Por suerte, el cine es un lenguaje del mundo. </span></p>\n<p><span style=\"font-weight: 400;\"><em><strong>El futuro perfecto</strong></em> se puede ver aquí: </span><a href=\"https://play.cine.ar/INCAA/produccion/5149\">https://play.cine.ar/INCAA/produccion/5149</a></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=twoCM9jmcxI\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=twoCM9jmcxI\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El futuro perfecto (2017)','','inherit','closed','closed','','1196-revision-v1','','','2020-05-26 12:14:10','2020-05-26 16:14:10','',1196,'http://lapistoladechejov.com/2020/05/26/1196-revision-v1/',0,'revision','',0),(1200,2,'2020-05-29 16:28:05','2020-05-29 20:28:05','<em><span style=\"font-weight: 400;\">Barbara Erni. Suiza. 2019</span></em>\n\n<span style=\"font-weight: 400;\">Una serie de fotografías viejas desfilan ante nuestro ojos mientras Barbara Erni viaja en tren a visitar a su madre. El viaje es largo y extenuante, y el destino supone para ella un dolor de cabeza seguro que se diluirá en los meses subsiguientes. Pareciera que la directora no hace nada, o al menos así lo afirma en el título, pero durante este viaje físico, se bifurca un recorrido afectivo que reconoce la relación confusa de ella con su madre.</span>\n\n<b><i>Making of Making nothing </i></b><span style=\"font-weight: 400;\">es una declaración nostálgica sobre la ausencia. Erni es una voz en off que dialoga con sus fotografías de pequeña, como si quisiera explicar a aquella niña sonriente que si bien podrá elegir su profesión, será impensable conversar con su madre, así como lo es evadir la muerte. Su madre, a punto de morir, encuentra consuelo en la idea de la muerte. En el gesto de dilatar su partida, a ella se la ve en fotografías de antes, en fotografías de sus antepasados, en entrevistas recientes y hasta incluso grabaciones donde conversa con Erni. Por su parte, la directora siempre está detrás de cámara, o refugiada en algún retrato o foto de algún rito familiar, pero latente en cada frase aún cuando cuenta los preparativos de su propio funeral, como si se estuviera anticipando a su ausencia inexistente. </span>\n\n<span style=\"font-weight: 400;\">En cada gesto yace oculta una contradicción que a la vez se contradice y en esta doble antítesis se torna positivo; ella filma el espacio donde habita mientras que admite no saber cómo se filma y al hacerlo está filmando, o describe lo que no pudo hablar con su madre mientras conversa con ella sobre su relación. De la misma manera, palabras e imágenes revelan su remordimiento afligido, y al hacerlo descansan al fin en los pétalos de las rosas naranjas que tanto le gustaban a ella y a su madre. </span>\n<h6><em><strong>Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</strong></em></h6>\n<span style=\"font-weight: 400;\"> Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','Making of Making nothing (2020)','','publish','open','open','','making-of-making-nothing-2020','','','2020-05-31 13:43:55','2020-05-31 17:43:55','',0,'http://lapistoladechejov.com/?p=1200',0,'post','',0),(1201,2,'2020-05-29 16:22:34','2020-05-29 20:22:34','Making of making nothing','Making of making nothing','','inherit','open','closed','','making-of-making-nothing','','','2020-05-29 16:22:55','2020-05-29 20:22:55','',1200,'http://lapistoladechejov.com/wp-content/uploads/2020/05/Making-of-making-nothing.png',0,'attachment','image/png',0),(1202,2,'2020-05-29 16:22:59','2020-05-29 20:22:59','\n\n<p><em><span style=\"font-weight: 400;\">Barbara Erni. Suiza. 2019</span></em></p>\n<p><span style=\"font-weight: 400;\">Una serie de fotografías viejas desfilan ante nuestro ojos mientras Barbara Erni viaja en tren a visitar a su madre. El viaje es largo y extenuante, y el destino supone para ella un dolor de cabeza seguro que se diluirá en los meses subsiguientes. Pareciera que la directora no hace nada, o al menos así lo afirma en el título, pero durante este viaje físico, se bifurca un recorrido afectivo que reconoce la relación confusa de ella con su madre.</span></p>\n<p><b><i>Making of Making nothing </i></b><span style=\"font-weight: 400;\">es una declaración nostálgica sobre la ausencia. Erni es una voz en off que dialoga con sus fotografías de pequeña, como si quisiera explicar a aquella niña sonriente que si bien podrá elegir su profesión, será impensable conversar con su madre, así como lo es evadir la muerte. Su madre, a punto de morir, encuentra consuelo en la idea de la muerte. En el gesto de dilatar su partida, a ella se la ve en fotografías de antes, en fotografías de sus antepasados, en entrevistas recientes y hasta incluso grabaciones donde conversa con Erni. Por su parte, la directora siempre está detrás de cámara, o refugiada en algún retrato o foto de algún rito familiar, pero latente en cada frase aún cuando cuenta los preparativos de su propio funeral, como si se estuviera anticipando a su ausencia inexistente. </span></p>\n<p><span style=\"font-weight: 400;\">En cada gesto yace oculta una contradicción que a la vez se contradice y en esta doble antítesis se torna positivo; ella filma el espacio donde habita mientras que admite no saber cómo se filma y al hacerlo está filmando, o describe lo que no pudo hablar con su madre mientras conversa con ella sobre su relación. De la misma manera, palabras e imágenes revelan su remordimiento afligido, y al hacerlo descansan al fin en los pétalos de las rosas naranjas que tanto le gustaban a ella y a su madre. </span></p>\n<pre><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></pre>','Making of Making nothing','','inherit','closed','closed','','1200-revision-v1','','','2020-05-29 16:22:59','2020-05-29 20:22:59','',1200,'http://lapistoladechejov.com/2020/05/29/1200-revision-v1/',0,'revision','',0),(1203,2,'2020-05-29 16:23:30','2020-05-29 20:23:30','\n\n<p><em><span style=\"font-weight: 400;\">Barbara Erni. Suiza. 2019</span></em></p>\n<p><span style=\"font-weight: 400;\">Una serie de fotografías viejas desfilan ante nuestro ojos mientras Barbara Erni viaja en tren a visitar a su madre. El viaje es largo y extenuante, y el destino supone para ella un dolor de cabeza seguro que se diluirá en los meses subsiguientes. Pareciera que la directora no hace nada, o al menos así lo afirma en el título, pero durante este viaje físico, se bifurca un recorrido afectivo que reconoce la relación confusa de ella con su madre.</span></p>\n<p><b><i>Making of Making nothing </i></b><span style=\"font-weight: 400;\">es una declaración nostálgica sobre la ausencia. Erni es una voz en off que dialoga con sus fotografías de pequeña, como si quisiera explicar a aquella niña sonriente que si bien podrá elegir su profesión, será impensable conversar con su madre, así como lo es evadir la muerte. Su madre, a punto de morir, encuentra consuelo en la idea de la muerte. En el gesto de dilatar su partida, a ella se la ve en fotografías de antes, en fotografías de sus antepasados, en entrevistas recientes y hasta incluso grabaciones donde conversa con Erni. Por su parte, la directora siempre está detrás de cámara, o refugiada en algún retrato o foto de algún rito familiar, pero latente en cada frase aún cuando cuenta los preparativos de su propio funeral, como si se estuviera anticipando a su ausencia inexistente. </span></p>\n<p><span style=\"font-weight: 400;\">En cada gesto yace oculta una contradicción que a la vez se contradice y en esta doble antítesis se torna positivo; ella filma el espacio donde habita mientras que admite no saber cómo se filma y al hacerlo está filmando, o describe lo que no pudo hablar con su madre mientras conversa con ella sobre su relación. De la misma manera, palabras e imágenes revelan su remordimiento afligido, y al hacerlo descansan al fin en los pétalos de las rosas naranjas que tanto le gustaban a ella y a su madre. </span></p>\n<h6><em><strong>Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</strong></em></h6>','Making of Making nothing','','inherit','closed','closed','','1200-revision-v1','','','2020-05-29 16:23:30','2020-05-29 20:23:30','',1200,'http://lapistoladechejov.com/2020/05/29/1200-revision-v1/',0,'revision','',0),(1204,2,'2020-05-29 16:26:09','2020-05-29 20:26:09','\n\n<p><em><span style=\"font-weight: 400;\">Barbara Erni. Suiza. 2019</span></em></p>\n<p><span style=\"font-weight: 400;\">Una serie de fotografías viejas desfilan ante nuestro ojos mientras Barbara Erni viaja en tren a visitar a su madre. El viaje es largo y extenuante, y el destino supone para ella un dolor de cabeza seguro que se diluirá en los meses subsiguientes. Pareciera que la directora no hace nada, o al menos así lo afirma en el título, pero durante este viaje físico, se bifurca un recorrido afectivo que reconoce la relación confusa de ella con su madre.</span></p>\n<p><b><i>Making of Making nothing </i></b><span style=\"font-weight: 400;\">es una declaración nostálgica sobre la ausencia. Erni es una voz en off que dialoga con sus fotografías de pequeña, como si quisiera explicar a aquella niña sonriente que si bien podrá elegir su profesión, será impensable conversar con su madre, así como lo es evadir la muerte. Su madre, a punto de morir, encuentra consuelo en la idea de la muerte. En el gesto de dilatar su partida, a ella se la ve en fotografías de antes, en fotografías de sus antepasados, en entrevistas recientes y hasta incluso grabaciones donde conversa con Erni. Por su parte, la directora siempre está detrás de cámara, o refugiada en algún retrato o foto de algún rito familiar, pero latente en cada frase aún cuando cuenta los preparativos de su propio funeral, como si se estuviera anticipando a su ausencia inexistente. </span></p>\n<p><span style=\"font-weight: 400;\">En cada gesto yace oculta una contradicción que a la vez se contradice y en esta doble antítesis se torna positivo; ella filma el espacio donde habita mientras que admite no saber cómo se filma y al hacerlo está filmando, o describe lo que no pudo hablar con su madre mientras conversa con ella sobre su relación. De la misma manera, palabras e imágenes revelan su remordimiento afligido, y al hacerlo descansan al fin en los pétalos de las rosas naranjas que tanto le gustaban a ella y a su madre. </span></p>\n<h6><em><strong>Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</strong></em></h6>','Making of Making nothing (2020)','','inherit','closed','closed','','1200-revision-v1','','','2020-05-29 16:26:09','2020-05-29 20:26:09','',1200,'http://lapistoladechejov.com/2020/05/29/1200-revision-v1/',0,'revision','',0),(1205,2,'2020-05-29 16:26:58','2020-05-29 20:26:58','\n\n<p><em><span style=\"font-weight: 400;\">Barbara Erni. Suiza. 2019</span></em></p>\n<p><span style=\"font-weight: 400;\">Una serie de fotografías viejas desfilan ante nuestro ojos mientras Barbara Erni viaja en tren a visitar a su madre. El viaje es largo y extenuante, y el destino supone para ella un dolor de cabeza seguro que se diluirá en los meses subsiguientes. Pareciera que la directora no hace nada, o al menos así lo afirma en el título, pero durante este viaje físico, se bifurca un recorrido afectivo que reconoce la relación confusa de ella con su madre.</span></p>\n<p><b><i>Making of Making nothing </i></b><span style=\"font-weight: 400;\">es una declaración nostálgica sobre la ausencia. Erni es una voz en off que dialoga con sus fotografías de pequeña, como si quisiera explicar a aquella niña sonriente que si bien podrá elegir su profesión, será impensable conversar con su madre, así como lo es evadir la muerte. Su madre, a punto de morir, encuentra consuelo en la idea de la muerte. En el gesto de dilatar su partida, a ella se la ve en fotografías de antes, en fotografías de sus antepasados, en entrevistas recientes y hasta incluso grabaciones donde conversa con Erni. Por su parte, la directora siempre está detrás de cámara, o refugiada en algún retrato o foto de algún rito familiar, pero latente en cada frase aún cuando cuenta los preparativos de su propio funeral, como si se estuviera anticipando a su ausencia inexistente. </span></p>\n<p><span style=\"font-weight: 400;\">En cada gesto yace oculta una contradicción que a la vez se contradice y en esta doble antítesis se torna positivo; ella filma el espacio donde habita mientras que admite no saber cómo se filma y al hacerlo está filmando, o describe lo que no pudo hablar con su madre mientras conversa con ella sobre su relación. De la misma manera, palabras e imágenes revelan su remordimiento afligido, y al hacerlo descansan al fin en los pétalos de las rosas naranjas que tanto le gustaban a ella y a su madre. </span></p>\n<h6><em><strong>Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</strong></em></h6>\n<p><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a></p>','Making of Making nothing (2020)','','inherit','closed','closed','','1200-revision-v1','','','2020-05-29 16:26:58','2020-05-29 20:26:58','',1200,'http://lapistoladechejov.com/2020/05/29/1200-revision-v1/',0,'revision','',0),(1206,2,'2020-05-29 16:27:39','2020-05-29 20:27:39','\n\n<p><em><span style=\"font-weight: 400;\">Barbara Erni. Suiza. 2019</span></em></p>\n<p><span style=\"font-weight: 400;\">Una serie de fotografías viejas desfilan ante nuestro ojos mientras Barbara Erni viaja en tren a visitar a su madre. El viaje es largo y extenuante, y el destino supone para ella un dolor de cabeza seguro que se diluirá en los meses subsiguientes. Pareciera que la directora no hace nada, o al menos así lo afirma en el título, pero durante este viaje físico, se bifurca un recorrido afectivo que reconoce la relación confusa de ella con su madre.</span></p>\n<p><b><i>Making of Making nothing </i></b><span style=\"font-weight: 400;\">es una declaración nostálgica sobre la ausencia. Erni es una voz en off que dialoga con sus fotografías de pequeña, como si quisiera explicar a aquella niña sonriente que si bien podrá elegir su profesión, será impensable conversar con su madre, así como lo es evadir la muerte. Su madre, a punto de morir, encuentra consuelo en la idea de la muerte. En el gesto de dilatar su partida, a ella se la ve en fotografías de antes, en fotografías de sus antepasados, en entrevistas recientes y hasta incluso grabaciones donde conversa con Erni. Por su parte, la directora siempre está detrás de cámara, o refugiada en algún retrato o foto de algún rito familiar, pero latente en cada frase aún cuando cuenta los preparativos de su propio funeral, como si se estuviera anticipando a su ausencia inexistente. </span></p>\n<p><span style=\"font-weight: 400;\">En cada gesto yace oculta una contradicción que a la vez se contradice y en esta doble antítesis se torna positivo; ella filma el espacio donde habita mientras que admite no saber cómo se filma y al hacerlo está filmando, o describe lo que no pudo hablar con su madre mientras conversa con ella sobre su relación. De la misma manera, palabras e imágenes revelan su remordimiento afligido, y al hacerlo descansan al fin en los pétalos de las rosas naranjas que tanto le gustaban a ella y a su madre. </span></p>\n<h6><em><strong>Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</strong></em></h6>\n<p><span style=\"font-weight: 400;\"> Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a></p>','Making of Making nothing (2020)','','inherit','closed','closed','','1200-revision-v1','','','2020-05-29 16:27:39','2020-05-29 20:27:39','',1200,'http://lapistoladechejov.com/2020/05/29/1200-revision-v1/',0,'revision','',0),(1219,2,'2020-05-31 13:43:15','2020-05-31 17:43:15','<em><span style=\"font-weight: 400;\">Barbara Erni. Suiza. 2019</span></em>\n\n<span style=\"font-weight: 400;\">Una serie de fotografías viejas desfilan ante nuestro ojos mientras Barbara Erni viaja en tren a visitar a su madre. El viaje es largo y extenuante, y el destino supone para ella un dolor de cabeza seguro que se diluirá en los meses subsiguientes. Pareciera que la directora no hace nada, o al menos así lo afirma en el título, pero durante este viaje físico, se bifurca un recorrido afectivo que reconoce la relación confusa de ella con su madre.</span>\n\n<b><i>Making of Making nothing </i></b><span style=\"font-weight: 400;\">es una declaración nostálgica sobre la ausencia. Erni es una voz en off que dialoga con sus fotografías de pequeña, como si quisiera explicar a aquella niña sonriente que si bien podrá elegir su profesión, será impensable conversar con su madre, así como lo es evadir la muerte. Su madre, a punto de morir, encuentra consuelo en la idea de la muerte. En el gesto de dilatar su partida, a ella se la ve en fotografías de antes, en fotografías de sus antepasados, en entrevistas recientes y hasta incluso grabaciones donde conversa con Erni. Por su parte, la directora siempre está detrás de cámara, o refugiada en algún retrato o foto de algún rito familiar, pero latente en cada frase aún cuando cuenta los preparativos de su propio funeral, como si se estuviera anticipando a su ausencia inexistente. </span>\n\n<span style=\"font-weight: 400;\">En cada gesto yace oculta una contradicción que a la vez se contradice y en esta doble antítesis se torna positivo; ella filma el espacio donde habita mientras que admite no saber cómo se filma y al hacerlo está filmando, o describe lo que no pudo hablar con su madre mientras conversa con ella sobre su relación. De la misma manera, palabras e imágenes revelan su remordimiento afligido, y al hacerlo descansan al fin en los pétalos de las rosas naranjas que tanto le gustaban a ella y a su madre. </span>\n<h6><em><strong>Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</strong></em></h6>\n<span style=\"font-weight: 400;\"> Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','Making of Making nothing (2020)','','inherit','closed','closed','','1200-revision-v1','','','2020-05-31 13:43:15','2020-05-31 17:43:15','',1200,'http://lapistoladechejov.com/2020/05/31/1200-revision-v1/',0,'revision','',0),(1210,2,'2020-05-29 16:35:23','2020-05-29 20:35:23',' ','','','publish','closed','closed','','1210','','','2020-05-29 16:38:59','2020-05-29 20:38:59','',0,'http://lapistoladechejov.com/2020/05/29/1210/',2,'nav_menu_item','',0),(1271,2,'2020-07-06 14:20:25','2020-07-06 18:20:25','<h2>Ladrón que roba a ladrón</h2>\n<span style=\"font-weight: 400;\">Casi cincuenta años después de los gritos desconsolados de Bruno al ver a su padre siendo zarandeado por una multitud enfurecida en</span><b><i> Ladrón de bicicletas</i></b><span style=\"font-weight: 400;\">, en algún barrio de Buenos Aires, Lucio deambula descalzo. Le han robado casi todo, su moto, su billetera y sus zapatillas. Son las cuatro de la mañana y él, sereno e inmutable, no se preocupa por hacer la denuncia. “Esto te va a cambiar la vida”, le asegura su amigo Damián, a lo que Lucio responde con un tono desprendido y escueto “La vida... ¿Cuánto calzás, Damián?”. ¿Cómo es la vida para los adolescentes en </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">? O dicho de otro modo, ¿qué disimula esos andares indiferentes donde a diferencia del personaje de De Sica da lo mismo raparse la cabeza o robar una moto?</span>\n\n<span style=\"font-weight: 400;\">Hace unas cuantas semanas, no recuerdo bien, había leído un titular sensacionalista que afirmaba un aumento considerable de personas rapadas y lo relacionaba con el confinamiento y las ansias de un supuesto cambio radical en las apariencias físicas. Nada pareciera ser más opuesto al momento en que Lucio se rapa. Mientras volvía de la casa de un amigo donde se había olvidado el reloj, el único objeto que no le robaron aquella noche, Lucio pasa frente a una peluquería. En un plano abierto, la cámara lo acompaña lateralmente, desde que visualiza el lugar y hasta que se detiene y vuelve, una vacilación que se resuelve tan pronto pronunciamos el título de la película y que apuntala a describir personajes anodinos circunscritos a casualidades citadinas.</span>\n\n<b><i>Rapado</i></b><span style=\"font-weight: 400;\"> pareciera remarcar las lagunas de una generación inerte al tiempo donde las carencias se suplen con silencios empáticos y miradas cómplices. Así, un joven ofrece un cigarrillo a Lucio, pero no tiene fuego, o cada tanto algún personaje intenta comprar algo con un billete falso sin temor a que sus acciones trasciendan más allá del ingenuo tanteo. Los recorridos de Lucio por las calles vacías indagan sobre su fascinación temporal por concretar un robo imitando el comportamiento de otros. La repetición de estos gestos, sea el modo de romper una cadena o el modo de asaltar con un cuchillo, son patrones reiterados y propagados entre sus personajes como las ondas sonoras que utilizan los murciélagos para escuchar. ¿Quién roba a quién? Pero no es lo único repetitivo, ya que la insistencia se da además en la presencia de ciertos sitios como el lugar de videojuegos o incluso los dormitorios y que, irónicamente, otorga una impresión de inacción, o al menos de estar yendo y viniendo de los mismos lugares. </span>\n\n<span style=\"font-weight: 400;\">El caminar de Lucio, un tanto rígido y un tanto desprovisto de naturalidad, remite a un personaje de Bresson en desconexión con su cuerpo pero que aún así habla sin decir mucho y espera sin resistencia alguna su merecido, por más que este sea un escupitajo en la cara tras un intento de robo fallido. ¿Y qué hacen los personajes cuando están solos en su habitación? Nada. A veces duermen, otras veces esconden una sierra bajo el colchón y la vuelven a esconder. En </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">, la inmovilidad es una carga pesada, pero deshacerse de ella implica un cambio de vida extremo, como dejar a la familia fumadora para tener un mejor estado físico, donde la recompensa no vale tanto el esfuerzo; mejor abandonar la moto robada en medio de la ruta antes que acarrear con ella o siquiera pensar en arreglarla.</span>\n\n<span style=\"font-weight: 400;\">Si en la película de De Sica, el robo perpetrado por Antonio significó la vergüenza absoluta de su personaje, en </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">, el robo de la motocicleta fue una constatación de que la vida no cambió mucho más que el corte de pelo. Quizás mañana nos toque andar descalzos.</span>\n\n<span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span>','Rapado (1992)','','publish','open','open','','rapado-1992','','','2020-07-06 14:20:29','2020-07-06 18:20:29','',0,'http://lapistoladechejov.com/?p=1271',0,'post','',0),(1272,2,'2020-07-06 14:18:59','2020-07-06 18:18:59','Rapado','rapado','','inherit','open','closed','','rapado','','','2020-07-06 14:19:13','2020-07-06 18:19:13','',1271,'http://lapistoladechejov.com/wp-content/uploads/2020/07/rapado.jpg',0,'attachment','image/jpeg',0),(1273,2,'2020-07-06 14:19:57','2020-07-06 18:19:57','<h2>Ladrón que roba a ladrón</h2>\n<span style=\"font-weight: 400;\">Casi cincuenta años después de los gritos desconsolados de Bruno al ver a su padre siendo zarandeado por una multitud enfurecida en</span><b><i> Ladrón de bicicletas</i></b><span style=\"font-weight: 400;\">, en algún barrio de Buenos Aires, Lucio deambula descalzo. Le han robado casi todo, su moto, su billetera y sus zapatillas. Son las cuatro de la mañana y él, sereno e inmutable, no se preocupa por hacer la denuncia. “Esto te va a cambiar la vida”, le asegura su amigo Damián, a lo que Lucio responde con un tono desprendido y escueto “La vida... ¿Cuánto calzás, Damián?”. ¿Cómo es la vida para los adolescentes en </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">? O dicho de otro modo, ¿qué disimula esos andares indiferentes donde a diferencia del personaje de De Sica da lo mismo raparse la cabeza o robar una moto?</span>\n\n<span style=\"font-weight: 400;\">Hace unas cuantas semanas, no recuerdo bien, había leído un titular sensacionalista que afirmaba un aumento considerable de personas rapadas y lo relacionaba con el confinamiento y las ansias de un supuesto cambio radical en las apariencias físicas. Nada pareciera ser más opuesto al momento en que Lucio se rapa. Mientras volvía de la casa de un amigo donde se había olvidado el reloj, el único objeto que no le robaron aquella noche, Lucio pasa frente a una peluquería. En un plano abierto, la cámara lo acompaña lateralmente, desde que visualiza el lugar y hasta que se detiene y vuelve, una vacilación que se resuelve tan pronto pronunciamos el título de la película y que apuntala a describir personajes anodinos circunscritos a casualidades citadinas.</span>\n\n<b><i>Rapado</i></b><span style=\"font-weight: 400;\"> pareciera remarcar las lagunas de una generación inerte al tiempo donde las carencias se suplen con silencios empáticos y miradas cómplices. Así, un joven ofrece un cigarrillo a Lucio, pero no tiene fuego, o cada tanto algún personaje intenta comprar algo con un billete falso sin temor a que sus acciones trasciendan más allá del ingenuo tanteo. Los recorridos de Lucio por las calles vacías indagan sobre su fascinación temporal por concretar un robo imitando el comportamiento de otros. La repetición de estos gestos, sea el modo de romper una cadena o el modo de asaltar con un cuchillo, son patrones reiterados y propagados entre sus personajes como las ondas sonoras que utilizan los murciélagos para escuchar. ¿Quién roba a quién? Pero no es lo único repetitivo, ya que la insistencia se da además en la presencia de ciertos sitios como el lugar de videojuegos o incluso los dormitorios y que, irónicamente, otorga una impresión de inacción, o al menos de estar yendo y viniendo de los mismos lugares. </span>\n\n<span style=\"font-weight: 400;\">El caminar de Lucio, un tanto rígido y un tanto desprovisto de naturalidad, remite a un personaje de Bresson en desconexión con su cuerpo pero que aún así habla sin decir mucho y espera sin resistencia alguna su merecido, por más que este sea un escupitajo en la cara tras un intento de robo fallido. ¿Y qué hacen los personajes cuando están solos en su habitación? Nada. A veces duermen, otras veces esconden una sierra bajo el colchón y la vuelven a esconder. En </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">, la inmovilidad es una carga pesada, pero deshacerse de ella implica un cambio de vida extremo, como dejar a la familia fumadora para tener un mejor estado físico, donde la recompensa no vale tanto el esfuerzo; mejor abandonar la moto robada en medio de la ruta antes que acarrear con ella o siquiera pensar en arreglarla.</span>\n\n<span style=\"font-weight: 400;\">Si en la película de De Sica, el robo perpetrado por Antonio significó la vergüenza absoluta de su personaje, en </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">, el robo de la motocicleta fue una constatación de que la vida no cambió mucho más que el corte de pelo. Quizás mañana nos toque andar descalzos.</span>\n\n<span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span>','Rapado (1992)','','inherit','closed','closed','','1271-revision-v1','','','2020-07-06 14:19:57','2020-07-06 18:19:57','',1271,'http://lapistoladechejov.com/2020/07/06/1271-revision-v1/',0,'revision','',0),(1301,2,'2020-08-07 13:37:31','2020-08-07 17:37:31','<b>Maya Da-Rin. Brasil / Francia.</b>\n\n<span style=\"font-weight: 400;\">En un primer plano, Justino, un hombre indígena, cabecea y cierra los ojos. El sueño pareciera apoderarse de su cuerpo mientras la cámara se desplaza lentamente hacia atrás en sintonía con la caía de sus párpados. La textura de un container de chapa metálica invade la imagen a la par que la oscuridad funde su cuerpo con el metal. El trance es hipotónico. Los sonidos se distorsionan, las luces de alerta se desvanecen, como aquel momento de somnolencia profunda donde la alucinación se embarulla con la realidad. Pero así como los sueños se desvanecen tan pronto abrimos los ojos, este instante es efímero. Al rato suena la radio y devuelve a Justino al puerto. Hay que verificar un sector. </span>\n\n<span style=\"font-weight: 400;\">La ciudad industrial de Manaus es el escenario donde se ambienta el relato de </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, ópera prima de la directora Maya Da-Rin. El personaje de la historia ilustra la adaptación de una población al modo de vivir moderno donde sin dinero no se come, y sin trabajo no hay dinero. En este contexto, y tal como ocurre en toda sudamérica, el desarrollo de los centros urbanos ha desplazado a las poblaciones originarias a una vida periférica en pos del aparente desarrollo pero no solo en lo geográfico sino además en la sumisión forzosa a la modernidad donde la hegemonía cultural avasalla las minorías; para el portugués parlante cualquier variante del </span><i><span style=\"font-weight: 400;\">tukano</span></i><span style=\"font-weight: 400;\"> suena igual a cualquier otra rama de la lengua amazónica. </span>\n\n<b><i>A febre </i></b><span style=\"font-weight: 400;\">es una película de contrastes. La diferencia entre el uno y el otro es tal que el mero traslado del personaje a su lugar de trabajo es un viaje interminable. Da-Rin traza estos recorridos con una insistencia que puntualiza el tiempo que implica para Justino desplazarse del hogar al puerto: un viaje en colectivo donde dormita parado, una larga caminata al costado de la ruta y una subida a una colina que permite ver a lo lejos las luces titilantes de la ciudad. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, así como bosque y ciudad están quebrados por la mitad por la ruta que los atraviesa, las diferencias trascienden los espacios. El lugar donde trabaja Justino es un amplio desierto de hormigón populado por containers donde un ser humano queda reducido a un punto ínfimo del paisaje. Aquí, solo la maquinaria pesada puede trasladar estos bloques de mercadería, lo que hace su labor aún más impersonal, la antítesis de la vida en el bosque donde son las manos las que pescan o las que recolectan un cacho de banana en plena compenetración con el ambiente. De la misma manera, Justino se viste y desviste antes de iniciar sus rondas, como si se estuviera adaptando con resignación a las exigencias de su presente. Porta un arma, un objeto que nunca ha usado salvo para cazar y realiza las tareas encomendadas con un cierto automatismo.</span>\n\n<span style=\"font-weight: 400;\">Vas a recetar pastillas igual que los blancos, le dice el hermano de Justino a su hija cuando ella le comenta que ha ganado una beca para estudiar medicina en Brasilia. En </span><b><i>A febre</i></b><span style=\"font-weight: 400;\">, el enfrentamiento no ocurre únicamente entre los blancos y los indígenas, sino también entre una generación y otra, la que subsistió por medios propios y la que hoy compra su comida en el supermercado. Los episodios de febrícula que acechan a Justino es solo un indicio más de un cuerpo invadido por costumbres ajenas y miedos foráneos.</span>\n\n<span style=\"font-weight: 400;\">Si en el primer cuadro de la película la cámara se acercaba a Justino, al final adquiere conciencia de que su presencia es también una irrupción. A medida que él regresa al bosque, el plano es inverso. Se lo ve de espaldas mientras se adentra entre los árboles y deja a su paso un ápice de resistencia utópica. Un analgésico no es ni será nunca suficiente para paliar el dolor de estar desapareciendo del mundo, porque la fiebre es tan solo un síntoma de un problema mayor. </span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional de largometrajes del </span></i><a href=\"http://femcine.cl/\"><i><span style=\"font-weight: 400;\">FEMCINE</span></i></a><i><span style=\"font-weight: 400;\"> 2020 - Festival de cine de mujeres</span></i>','A febre (2019)','','publish','open','open','','a-febre-2019','','','2020-08-07 14:46:54','2020-08-07 18:46:54','',0,'http://lapistoladechejov.com/?p=1301',0,'post','',0),(1302,2,'2020-08-07 13:36:25','2020-08-07 17:36:25','','a febre','','inherit','open','closed','','a-febre','','','2020-08-07 13:36:34','2020-08-07 17:36:34','',1301,'http://lapistoladechejov.com/wp-content/uploads/2020/08/a-febre.jpg',0,'attachment','image/jpeg',0),(1278,2,'2020-07-17 15:14:35','2020-07-17 19:14:35','<h2>Prisioneras del heroísmo</h2>\n<p><span style=\"font-weight: 400;\">A primera vista, podría resultar descabellado trazar puntos en común entre </span><b><i>Prisioneros de una noche </i></b><span style=\"font-weight: 400;\">(1962) de David José Kohon y </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">(1968) de Rodolfo Kuhn, pero más allá del contexto temporal y espacial, o del final agridulce presente en ambos relatos, cada uno con su tono pertinente, encuentro un grito de liberación femenina consciente de la clase social de sus protagonistas mujeres. En una Buenos Aires sesentosa, marcada por el auge de la cultura juvenil y de movimientos artísticos de vanguardia en plena contienda con los espacios de poder empedernidos en frenar cualquier impulso de transformación, el cine de Kohon y Kuhn son lamentos derrotados que claman libertad a sus desarraigadas, el primero con un castigo y el segundo con ironía, para que el público quede contento con el extraviado (y para siempre) final feliz. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Ufa con el sexo, </i></b><span style=\"font-weight: 400;\">la historia es bien sencilla: Juan, un joven de familia “bien”, es decir con educación, dinero y poder adquisitivo por encima de la media, conoce a Evangelina y queda fascinado por ella, quizás porque ella no le presta mucha atención, y él la ve como un mero desafío, la chica que lee Simone de Beauvoir. Sucede algo similar en </span><b><i>Prisioneros de la noche. </i></b><span style=\"font-weight: 400;\">Martín conoce a Elsa en una subasta pueblerina y también queda deslumbrado por ella, quizás porque ella le recrimina la naturaleza de su trabajo sin timidez alguna o tal vez por su apariencia física remarcada por un paneo de arriba abajo. A raíz de dichos encuentros, ambos hombres harán lo imposible por pasar tiempo con estas mujeres, sea durante una noche o para siempre. </span></p>\n<p><span style=\"font-weight: 400;\">Para sorpresa de Juan, Evangelina es una prostituta. Su tiempo tiene una tarifa y su día una agenda, manejada con rigurosidad por su madre. Por suerte, Juan, siendo un hombre pudiente, puede reservar los turnos que quiera. Por su parte, Elsa es una bailarina de la academia. Su tiempo también tiene una tarifa y su día a día una agenda igual de apretada. Martín, un peón del mercado, se escapa de su trabajo a sabiendas de las consecuencias de sus acciones. Primera disparidad: para Martín, una jornada de trabajo equivale a no tener qué comer ni con qué pagar su alquiler mientras que para Juan, todo se soluciona con una llamada a sus padres. Y es aquí es donde la trama adquiere complejidad y se diversifica un poco, pero sin perder de vista aquella idea inicial ya mencionada. </span></p>\n<p><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">exclama a viva voz que la mujer es un objeto, una pieza fundamental para la vida de todos los hombres que a la vez es hermosa, lo mejor que existe. Con un lenguaje propio de documentales, como el registro del movimiento de personas en la ciudad, el uso y abuso de </span><i><span style=\"font-weight: 400;\">zoom ins</span></i><span style=\"font-weight: 400;\">, o una amena voz en off que postula cada idea con veracidad científica, una supuesta reportera irrumpe a una pareja desnuda en la cama. El hombre, Juan, confiesa que le encantan las mujeres y la mujer, sonriente, afirma que le encanta ser un objeto. La sátira es evidente, pero supone constatar problemas sociales de gran magnitud. Si la mujer es un bien material, noción consensuada y perpetuada por la sociedad machista, no es sorpresa entonces que su condición de tal desemboque en comportamientos posesivos, y éstos a su vez, en celos. Juan se inquieta cuando un cliente reserva doble turno con Evangelina, de la misma manera en que Martín insiste en saber la naturaleza de los amigos que frecuentan la academia y los temas de conversación que estos desconocidos entablan con Elsa, como si la prostitución o mera compañía de danza fuera una amenaza para ellos.</span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Prisioneros de la noche </i></b><span style=\"font-weight: 400;\">el humor mordaz da lugar a un drama, donde el acoso de un tercero enigmático se entromete en la relación de los amantes y es un impedimento más en la búsqueda infinita de un espacio íntimo. Martín y Elsa, errantes de la noche, recorren los linderos de la oscuridad bajo el titileo de las luces de neón que revelan espacios deslucidos abarrotados de belleza. Ambas historias describen un viaje, con la promesa última de una conquista y la subsecuente salvación de las mujeres. Juan y Martín son héroes de capa y espada, una mezcla de príncipe medieval cristiano con la rudeza de los detectives del cine negro. Para ellos, las mujeres pertenecen al hogar y si no lo están, es responsabilidad suya que dejen de vender sus cuerpos sin importar si en verdad ellas clamaban socorro. Evangelina duda si comprometerse con Juan por temor a caer en el aburrimiento y Elsa procura sin éxito evitar el encuentro de Martín con el hombre que la persigue. </span></p>\n<p><span style=\"font-weight: 400;\">En contrapartida a este heroísmo masculino gratuito, </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">se burla de la hipotética hombría que tanto se jacta su galán, o más bien de lo que él cree que significa dicha virilidad. Cuando Juan sube a la pieza de Evangelina, una serie de planos cerrados describe las preliminares al acto sexual, como el cierre del vestido de ella, o alguna prenda que se desprende. Sin previo aviso, hay un corte al auto de Juan, el detalle del tablero donde la flecha de revoluciones sale disparada, la palanca de cambios del vehículo en un encuadre bien fálico y la flecha que indica la presión del aceite que también dispara hacia arriba. En tres planos, y en no más de cinco segundos, la excitación efímera del hombre culmina con una actitud de conquista suya y de puro aburrimiento de ella. </span></p>\n<p><span style=\"font-weight: 400;\">En ambas películas, el comportamiento controlador se soluciona de una manera muy sencilla, el matrimonio o la idea de un compromiso. Tras un arduo proceso de tasación y negociaciones entre las partes interesadas, Juan compra a Evangelina, y, por su parte, luego de golpes y amenazas verbales, Martín promete buscar una pieza para vivir con Elsa, ambos hombres con la cabeza puesta en rescatar a las mujeres que son a sus ojos, sus mujeres. Pero aquí la verdadera amenaza no es el trabajo que ellas hacen, ni el cansancio que esto conlleva, ni la supuesta dignidad perdida, sino la autonomía corporal y económica que podría desestabilizar el núcleo de nuestra sociedad: el matrimonio. </span></p>\n<p><span style=\"font-weight: 400;\">Lastimosamente, aquello no ocurre, pero el final sigue siendo una desdicha. Evangelina adolece la monotonía cotidiana de un matrimonio arreglado, sumado a la normativa de comportamientos y actitudes esperados de una buena esposa. Por su parte, buscando defenderse, Elsa mata al vecino hostigador y acaba yendo a la cárcel. Ambas mujeres acaban ahogadas por la figura de su autodenominado salvador con la pequeña y gran diferencia que para las mujeres burguesas el rescate es una mera transacción con fiesta y torta, y para las mujeres jornaleras idear un futuro que no implique sumisión es impensable. Mejor confesar el crimen, ser mujer, y el doble crimen de Elsa, ser mujer y ser pobre.</span></p>\n<p><span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span></p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=62k7UHglXu4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=62k7UHglXu4\n</div></figure>\n<!-- /wp:core-embed/youtube -->\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=Ggs_ii_L16w\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=Ggs_ii_L16w\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Prisioneros de una noche (1962) / Ufa con el sexo (1968)','','inherit','closed','closed','','1276-revision-v1','','','2020-07-17 15:14:35','2020-07-17 19:14:35','',1276,'http://lapistoladechejov.com/2020/07/17/1276-revision-v1/',0,'revision','',0),(1279,2,'2020-07-17 15:14:35','2020-07-17 19:14:35','<iframe title=\"Ufa con el sexo (Rodolfo Kuhn, 1968) - Película completa\" width=\"1200\" height=\"900\" src=\"https://www.youtube.com/embed/62k7UHglXu4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','7a7e5036c9746b8a245de0583a793d79','','','2020-07-17 15:14:35','2020-07-17 19:14:35','',0,'http://lapistoladechejov.com/2020/07/17/7a7e5036c9746b8a245de0583a793d79/',0,'oembed_cache','',0),(1280,2,'2020-07-17 15:14:36','2020-07-17 19:14:36','<iframe title=\"Prisioneros de una noche (David José Kohon, 1960/1962)\" width=\"1200\" height=\"900\" src=\"https://www.youtube.com/embed/Ggs_ii_L16w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','2c9e9175c22ece8e9da76e50b5015885','','','2020-07-17 15:14:36','2020-07-17 19:14:36','',0,'http://lapistoladechejov.com/2020/07/17/2c9e9175c22ece8e9da76e50b5015885/',0,'oembed_cache','',0),(1281,2,'2020-07-17 15:16:22','2020-07-17 19:16:22','<h2>Prisioneras del heroísmo</h2>\n<p><span style=\"font-weight: 400;\">A primera vista, podría resultar descabellado trazar puntos en común entre </span><b><i>Prisioneros de una noche </i></b><span style=\"font-weight: 400;\">(1962) de David José Kohon y </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">(1968) de Rodolfo Kuhn, pero más allá del contexto temporal y espacial, o del final agridulce presente en ambos relatos, cada uno con su tono pertinente, encuentro un grito de liberación femenina consciente de la clase social de sus protagonistas mujeres. En una Buenos Aires sesentosa, marcada por el auge de la cultura juvenil y de movimientos artísticos de vanguardia en plena contienda con los espacios de poder empedernidos en frenar cualquier impulso de transformación, el cine de Kohon y Kuhn son lamentos derrotados que claman libertad a sus desarraigadas, el primero con un castigo y el segundo con ironía, para que el público quede contento con el extraviado (y para siempre) final feliz. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Ufa con el sexo, </i></b><span style=\"font-weight: 400;\">la historia es bien sencilla: Juan, un joven de familia “bien”, es decir con educación, dinero y poder adquisitivo por encima de la media, conoce a Evangelina y queda fascinado por ella, quizás porque ella no le presta mucha atención, y él la ve como un mero desafío, la chica que lee Simone de Beauvoir. Sucede algo similar en </span><b><i>Prisioneros de la noche. </i></b><span style=\"font-weight: 400;\">Martín conoce a Elsa en una subasta pueblerina y también queda deslumbrado por ella, quizás porque ella le recrimina la naturaleza de su trabajo sin timidez alguna o tal vez por su apariencia física remarcada por un paneo de arriba abajo. A raíz de dichos encuentros, ambos hombres harán lo imposible por pasar tiempo con estas mujeres, sea durante una noche o para siempre. </span></p>\n<p><span style=\"font-weight: 400;\">Para sorpresa de Juan, Evangelina es una prostituta. Su tiempo tiene una tarifa y su día una agenda, manejada con rigurosidad por su madre. Por suerte, Juan, siendo un hombre pudiente, puede reservar los turnos que quiera. Por su parte, Elsa es una bailarina de la academia. Su tiempo también tiene una tarifa y su día a día una agenda igual de apretada. Martín, un peón del mercado, se escapa de su trabajo a sabiendas de las consecuencias de sus acciones. Primera disparidad: para Martín, una jornada de trabajo equivale a no tener qué comer ni con qué pagar su alquiler mientras que para Juan, todo se soluciona con una llamada a sus padres. Y es aquí es donde la trama adquiere complejidad y se diversifica un poco, pero sin perder de vista aquella idea inicial ya mencionada. </span></p>\n<p><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">exclama a viva voz que la mujer es un objeto, una pieza fundamental para la vida de todos los hombres que a la vez es hermosa, lo mejor que existe. Con un lenguaje propio de documentales, como el registro del movimiento de personas en la ciudad, el uso y abuso de </span><i><span style=\"font-weight: 400;\">zoom ins</span></i><span style=\"font-weight: 400;\">, o una amena voz en off que postula cada idea con veracidad científica, una supuesta reportera irrumpe a una pareja desnuda en la cama. El hombre, Juan, confiesa que le encantan las mujeres y la mujer, sonriente, afirma que le encanta ser un objeto. La sátira es evidente, pero supone constatar problemas sociales de gran magnitud. Si la mujer es un bien material, noción consensuada y perpetuada por la sociedad machista, no es sorpresa entonces que su condición de tal desemboque en comportamientos posesivos, y éstos a su vez, en celos. Juan se inquieta cuando un cliente reserva doble turno con Evangelina, de la misma manera en que Martín insiste en saber la naturaleza de los amigos que frecuentan la academia y los temas de conversación que estos desconocidos entablan con Elsa, como si la prostitución o mera compañía de danza fuera una amenaza para ellos.</span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Prisioneros de la noche </i></b><span style=\"font-weight: 400;\">el humor mordaz da lugar a un drama, donde el acoso de un tercero enigmático se entromete en la relación de los amantes y es un impedimento más en la búsqueda infinita de un espacio íntimo. Martín y Elsa, errantes de la noche, recorren los linderos de la oscuridad bajo el titileo de las luces de neón que revelan espacios deslucidos abarrotados de belleza. Ambas historias describen un viaje, con la promesa última de una conquista y la subsecuente salvación de las mujeres. Juan y Martín son héroes de capa y espada, una mezcla de príncipe medieval cristiano con la rudeza de los detectives del cine negro. Para ellos, las mujeres pertenecen al hogar y si no lo están, es responsabilidad suya que dejen de vender sus cuerpos sin importar si en verdad ellas clamaban socorro. Evangelina duda si comprometerse con Juan por temor a caer en el aburrimiento y Elsa procura sin éxito evitar el encuentro de Martín con el hombre que la persigue. </span></p>\n<p><span style=\"font-weight: 400;\">En contrapartida a este heroísmo masculino gratuito, </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">se burla de la hipotética hombría que tanto se jacta su galán, o más bien de lo que él cree que significa dicha virilidad. Cuando Juan sube a la pieza de Evangelina, una serie de planos cerrados describe las preliminares al acto sexual, como el cierre del vestido de ella, o alguna prenda que se desprende. Sin previo aviso, hay un corte al auto de Juan, el detalle del tablero donde la flecha de revoluciones sale disparada, la palanca de cambios del vehículo en un encuadre bien fálico y la flecha que indica la presión del aceite que también dispara hacia arriba. En tres planos, y en no más de cinco segundos, la excitación efímera del hombre culmina con una actitud de conquista suya y de puro aburrimiento de ella. </span></p>\n<p><span style=\"font-weight: 400;\">En ambas películas, el comportamiento controlador se soluciona de una manera muy sencilla, el matrimonio o la idea de un compromiso. Tras un arduo proceso de tasación y negociaciones entre las partes interesadas, Juan compra a Evangelina, y, por su parte, luego de golpes y amenazas verbales, Martín promete buscar una pieza para vivir con Elsa, ambos hombres con la cabeza puesta en rescatar a las mujeres que son a sus ojos, sus mujeres. Pero aquí la verdadera amenaza no es el trabajo que ellas hacen, ni el cansancio que esto conlleva, ni la supuesta dignidad perdida, sino la autonomía corporal y económica que podría desestabilizar el núcleo de nuestra sociedad: el matrimonio. </span></p>\n<p><span style=\"font-weight: 400;\">Lastimosamente, aquello no ocurre, pero el final sigue siendo una desdicha. Evangelina adolece la monotonía cotidiana de un matrimonio arreglado, sumado a la normativa de comportamientos y actitudes esperados de una buena esposa. Por su parte, buscando defenderse, Elsa mata al vecino hostigador y acaba yendo a la cárcel. Ambas mujeres acaban ahogadas por la figura de su autodenominado salvador con la pequeña y gran diferencia que para las mujeres burguesas el rescate es una mera transacción con fiesta y torta, y para las mujeres jornaleras idear un futuro que no implique sumisión es impensable. Mejor confesar el crimen, ser mujer, y el doble crimen de Elsa, ser mujer y ser pobre.</span></p>\n<p>Enlaces para ver ambas películas:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=62k7UHglXu4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=62k7UHglXu4\n</div></figure>\n<!-- /wp:core-embed/youtube -->\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=Ggs_ii_L16w\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=Ggs_ii_L16w\n</div></figure>\n<!-- /wp:core-embed/youtube -->\n\n<p><span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Prisioneros de una noche (1962) / Ufa con el sexo (1968)','','inherit','closed','closed','','1276-revision-v1','','','2020-07-17 15:16:22','2020-07-17 19:16:22','',1276,'http://lapistoladechejov.com/2020/07/17/1276-revision-v1/',0,'revision','',0),(1357,2,'2020-10-13 15:35:29','2020-10-13 18:35:29','<h2>Prisioneras del heroísmo</h2>\n<p><span style=\"font-weight: 400;\">A primera vista, podría resultar descabellado trazar puntos en común entre </span><b><i>Prisioneros de una noche </i></b><span style=\"font-weight: 400;\">(1962) de David José Kohon y </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">(1968) de Rodolfo Kuhn, pero más allá del contexto temporal y espacial, o del final agridulce presente en ambos relatos, cada uno con su tono pertinente, encuentro un grito de liberación femenina consciente de la clase social de sus protagonistas mujeres. En una Buenos Aires sesentosa, marcada por el auge de la cultura juvenil y de movimientos artísticos de vanguardia en plena contienda con los espacios de poder empedernidos en frenar cualquier impulso de transformación, el cine de Kohon y Kuhn son lamentos derrotados que claman libertad a sus desarraigadas, el primero con un castigo y el segundo con ironía, para que el público quede contento con el extraviado (y para siempre) final feliz. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Ufa con el sexo, </i></b><span style=\"font-weight: 400;\">la historia es bien sencilla: Juan, un joven de familia “bien”, es decir con educación, dinero y poder adquisitivo por encima de la media, conoce a Evangelina y queda fascinado por ella, quizás porque ella no le presta mucha atención, y él la ve como un mero desafío, la chica que lee Simone de Beauvoir. Sucede algo similar en </span><b><i>Prisioneros de la noche. </i></b><span style=\"font-weight: 400;\">Martín conoce a Elsa en una subasta pueblerina y también queda deslumbrado por ella, quizás porque ella le recrimina la naturaleza de su trabajo sin timidez alguna o tal vez por su apariencia física remarcada por un paneo de arriba abajo. A raíz de dichos encuentros, ambos hombres harán lo imposible por pasar tiempo con estas mujeres, sea durante una noche o para siempre. </span></p>\n<p><span style=\"font-weight: 400;\">Para sorpresa de Juan, Evangelina es una prostituta. Su tiempo tiene una tarifa y su día una agenda, manejada con rigurosidad por su madre. Por suerte, Juan, siendo un hombre pudiente, puede reservar los turnos que quiera. Por su parte, Elsa es una bailarina de la academia. Su tiempo también tiene una tarifa y su día a día una agenda igual de apretada. Martín, un peón del mercado, se escapa de su trabajo a sabiendas de las consecuencias de sus acciones. Primera disparidad: para Martín, una jornada de trabajo equivale a no tener qué comer ni con qué pagar su alquiler mientras que para Juan, todo se soluciona con una llamada a sus padres. Y es aquí es donde la trama adquiere complejidad y se diversifica un poco, pero sin perder de vista aquella idea inicial ya mencionada. </span></p>\n<p><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">exclama a viva voz que la mujer es un objeto, una pieza fundamental para la vida de todos los hombres que a la vez es hermosa, lo mejor que existe. Con un lenguaje propio de documentales, como el registro del movimiento de personas en la ciudad, el uso y abuso de </span><i><span style=\"font-weight: 400;\">zoom ins</span></i><span style=\"font-weight: 400;\">, o una amena voz en off que postula cada idea con veracidad científica, una supuesta reportera irrumpe a una pareja desnuda en la cama. El hombre, Juan, confiesa que le encantan las mujeres y la mujer, sonriente, afirma que le encanta ser un objeto. La sátira es evidente, pero supone constatar problemas sociales de gran magnitud. Si la mujer es un bien material, noción consensuada y perpetuada por la sociedad machista, no es sorpresa entonces que su condición de tal desemboque en comportamientos posesivos, y éstos a su vez, en celos. Juan se inquieta cuando un cliente reserva doble turno con Evangelina, de la misma manera en que Martín insiste en saber la naturaleza de los amigos que frecuentan la academia y los temas de conversación que estos desconocidos entablan con Elsa, como si la prostitución o mera compañía de danza fuera una amenaza para ellos.</span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Prisioneros de la noche </i></b><span style=\"font-weight: 400;\">el humor mordaz da lugar a un drama, donde el acoso de un tercero enigmático se entromete en la relación de los amantes y es un impedimento más en la búsqueda infinita de un espacio íntimo. Martín y Elsa, errantes de la noche, recorren los linderos de la oscuridad bajo el titileo de las luces de neón que revelan espacios deslucidos abarrotados de belleza. Ambas historias describen un viaje, con la promesa última de una conquista y la subsecuente salvación de las mujeres. Juan y Martín son héroes de capa y espada, una mezcla de príncipe medieval cristiano con la rudeza de los detectives del cine negro. Para ellos, las mujeres pertenecen al hogar y si no lo están, es responsabilidad suya que dejen de vender sus cuerpos sin importar si en verdad ellas clamaban socorro. Evangelina duda si comprometerse con Juan por temor a caer en el aburrimiento y Elsa procura sin éxito evitar el encuentro de Martín con el hombre que la persigue. </span></p>\n<p><span style=\"font-weight: 400;\">En contrapartida a este heroísmo masculino gratuito, </span><b><i>Ufa con el sexo </i></b><span style=\"font-weight: 400;\">se burla de la hipotética hombría que tanto se jacta su galán, o más bien de lo que él cree que significa dicha virilidad. Cuando Juan sube a la pieza de Evangelina, una serie de planos cerrados describe las preliminares al acto sexual, como el cierre del vestido de ella, o alguna prenda que se desprende. Sin previo aviso, hay un corte al auto de Juan, el detalle del tablero donde la flecha de revoluciones sale disparada, la palanca de cambios del vehículo en un encuadre bien fálico y la flecha que indica la presión del aceite que también dispara hacia arriba. En tres planos, y en no más de cinco segundos, la excitación efímera del hombre culmina con una actitud de conquista suya y de puro aburrimiento de ella. </span></p>\n<p><span style=\"font-weight: 400;\">En ambas películas, el comportamiento controlador se soluciona de una manera muy sencilla, el matrimonio o la idea de un compromiso. Tras un arduo proceso de tasación y negociaciones entre las partes interesadas, Juan compra a Evangelina, y, por su parte, luego de golpes y amenazas verbales, Martín promete buscar una pieza para vivir con Elsa, ambos hombres con la cabeza puesta en rescatar a las mujeres que son a sus ojos, sus mujeres. Pero aquí la verdadera amenaza no es el trabajo que ellas hacen, ni el cansancio que esto conlleva, ni la supuesta dignidad perdida, sino la autonomía corporal y económica que podría desestabilizar el núcleo de nuestra sociedad: el matrimonio. </span></p>\n<p><span style=\"font-weight: 400;\">Lastimosamente, aquello no ocurre, pero el final sigue siendo una desdicha. Evangelina adolece la monotonía cotidiana de un matrimonio arreglado, sumado a la normativa de comportamientos y actitudes esperados de una buena esposa. Por su parte, buscando defenderse, Elsa mata al vecino hostigador y acaba yendo a la cárcel. Ambas mujeres acaban ahogadas por la figura de su autodenominado salvador con la pequeña y gran diferencia que para las mujeres burguesas el rescate es una mera transacción con fiesta y torta, y para las mujeres jornaleras idear un futuro que no implique sumisión es impensable. Mejor confesar el crimen, ser mujer, y el doble crimen de Elsa, ser mujer y ser pobre.</span></p>\n<p>Enlaces para ver ambas películas:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=62k7UHglXu4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=62k7UHglXu4\n</div></figure>\n<!-- /wp:core-embed/youtube -->\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=Ggs_ii_L16w\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-4-3 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=Ggs_ii_L16w\n</div></figure>\n<!-- /wp:core-embed/youtube -->\n\n\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Prisioneros de una noche (1962) / Ufa con el sexo (1968)','','inherit','closed','closed','','1276-revision-v1','','','2020-10-13 15:35:29','2020-10-13 18:35:29','',1276,'http://lapistoladechejov.com/2020/10/13/1276-revision-v1/',0,'revision','',0),(1291,2,'2020-07-20 14:11:51','2020-07-20 18:11:51','<h2>Engaños ópticos</h2>\n<span style=\"font-weight: 400;\">Del griego </span><i><span style=\"font-weight: 400;\">parallaxis</span></i><span style=\"font-weight: 400;\">, que significa diferencia o cambio, el paralaje es la desviación aparente de la posición de un objeto que ocurre cuando se lo observa desde distintos puntos de vista. El paralaje puede ser un error de </span><a href=\"https://cdn0.vox-cdn.com/thumbor/IH2SurXDgIoQJkcKV5a27FKdyt0=/0x0:515x300/920x0/filters:focal(0x0:515x300):no_upscale()/cdn1.vox-cdn.com/uploads/chorus_asset/file/7537327/4th1.0.gif\"><span style=\"font-weight: 400;\">medición</span></a><span style=\"font-weight: 400;\">, por ejemplo si miramos el indicador de un recipiente desde un ángulo oblicuo, o un efecto predeterminado en </span><a href=\"https://codemyui.com/wp-content/uploads/2017/07/Parallax-Effect-on-Hover.mp4\"><span style=\"font-weight: 400;\">wix</span></a><span style=\"font-weight: 400;\"> que agrega una sensación de tridimensionalidad a imágenes despegadas de su fondo, donde los elementos más lejanos se desplazan a una velocidad menor que los objetos más cercanos. En la fotografía, el paralaje ocurre cuando la imagen observada a través del visor no coincide con lo capturado por el objetivo de la cámara, lo cual implica que el visor ha sido montado en un eje diferente que la lente. Y en el cine, el paralaje es una película, </span><b><i>The Parallax View</i></b><span style=\"font-weight: 400;\"> (1974), deficientemente traducida como </span><i><span style=\"font-weight: 400;\">El último testigo</span></i><span style=\"font-weight: 400;\"> o </span><i><span style=\"font-weight: 400;\">Asesinos S.A. </span></i><span style=\"font-weight: 400;\">según el país donde nos encontremos (¿paralaje lingüístico?).</span>\n\n<span style=\"font-weight: 400;\">Una suerte de prólogo abre el relato. Durante los festejos del Día de la Independencia, el senador Carroll es asesinado en la Aguja Espacial de Seattle delante de los ojos de varios testigos, incluyendo el reportero Joe Frady y nosotros mismos. Entre un cúmulo de rostros aún no identificados y el tumulto del evento mediático, el primer plano de un camarero anónimo es indicio suficiente para intuir su presencia hostil. El desenlace atroz se resuelve en contados segundos antes siquiera que podemos comprender dónde reposar la atención: el camarero anónimo intercambia lugares con otro camarero, Carroll anuncia su partida y mientras agradece a los presentes es acribillado en pleno discurso de despedida. La violencia, rápida y desmedida, es una sacudida repentina. Desde afuera, la reportera y el asesor del político observan descolocados el inesperado y brutal asesinato. La escena corta al interior de la torre, donde en medio del frenesí, un camarero armado es detenido por la multitud casi al mismo tiempo en el que el camarero anónimo de mirada inmutable guarda su arma; él es el verdadero asesino. Mientras los agentes de seguridad persiguen al camarero incorrecto, producto una especie de efecto de paralaje que les impidió ver de dónde provino el tiro, el autor real de los hechos se escapa. Camarero anónimo acaba libre en las calles, camarero cómplice cae de la torre y muere sin poder decir nada. La impotencia que suscita este momento abarca la magnitud del cuadro y se desvanece con el grito del inocente. </span>\n\n<span style=\"font-weight: 400;\">Algunos meses después, durante una audiencia judicial, un comité especial anuncia su veredicto final sobre el caso: el senador Carroll fue asesinado por un patriota fanático motivado por sus ansias de reconocimiento público. Los rostros ocultos de los siete integrantes del comité, enmarcados en un cuadro rectangular de madera y cuero oscuro es una imagen tétrica, siete justicieros del apocalipsis guiados por el águila calva, emblema de una nación carroñera. Mientras la cámara se acerca a ellos en un movimiento de desplazamiento frontal, una voz reitera con énfasis que no existe ninguna conspiración tras los hechos, y que el asesino actuó solo. El tono turbio, vidrioso, es solo un anticipo de lo que nos espera, un relato que nos irá adentrando lentamente en una atmósfera apesadumbrada donde los héroes no existen y son insignificantes frente a un poder infame. </span>\n\n<span style=\"font-weight: 400;\">Lo que va sucediendo después enmarca la historia entre la búsqueda de Frady por desenmascarar la verdad antes que ocurra otro homicidio y el actuar de una empresa que recluta potenciales criminales para misiones de alto riesgo. Esta corporación amorfa, impersonal, casi intangible salvo un cartel en la fachada de un edificio de curvas sinuosas, dotan al enemigo de un carácter irreconocible, un manto brumoso que todo lo ve y manipula a su antojo. ¿Quiénes son los dueños de Parallax S.A.? ¿Cómo eligen sus objetivos? ¿Cómo se comunican con sus empleados?</span>\n\n<b><i>The Parallax View </i></b><span style=\"font-weight: 400;\">juega con la alternancia de puntos de vista de la cámara que adopta distancias diferentes e implica un desajuste en la mirada. Por un lado está la visión de Frady, el protagonista-partícipe quien sube al carrito de tren y confirma a través de su fuente que es posible maquillar un asesinato para que parezca un paro cardiaco. Pero él es incapaz de presentir una mirada externa y lejana, esa sensación de estar siendo observado que genera un plano tan abierto. Y por el otro, nuestra posición de testigo-observador que reposa sobre los rostros de los fallecidos. Un primer plano de la reportera o del jefe de Frady son planos que no se corresponden al punto de vista del protagonista ya que su reacción nos es vedada o ignorada por más que cohabite el plano con la víctima. El modo de narrar está impregnado además por la existencia de un poder lejano e inalcanzable donde los atentados hacia la vida de Frady se suceden en planos tan abiertos que implican dos verdades contradictorias: al observar de lejos la explosión en el barco, o el forcejeo en el arroyo caudaloso se percibe un panorama general de los hechos, un </span><i><span style=\"font-weight: 400;\">mastershot </span></i><span style=\"font-weight: 400;\">perfecto donde se ve todo, pero esta amplitud a su vez imposibilita cualquier aproximación que arroje nuevos datos sobre la intriga. Él está solo, siempre lo estuvo y siempre lo estará,una persona desdeñable frente a esta maquinaria ubicua y mercenaria, pero sobre todo invisible. </span>\n\n<span style=\"font-weight: 400;\">Aún así, Frady consigue sobrevivir hasta la última secuencia, el ensayo preliminar de un mitin político donde hablará el senador Hammond. Llegado a este punto, el reportero ha conseguido desplazarse al otro punto de vista, el del asesino. Y del otro lado de la pantalla, es imposible no albergar un ápice de esperanza porque salvar al senador, un personaje intrascendente para la historia, es restaurar la fe en la justicia y desenmascarar al fin la conspiración con un hecho concreto. Mientras que en el suelo Hammond se pasea entre las mesas del auditorio y repasa los detalles del evento con sus asesores, Frady espía los andares de un hombre desconocido que se prepara para llevar a cabo su cometido. Está tan cerca de lograrlo que el fracaso golpea como una bala. Una muerte súbita. De un plano suyo donde se lo ve corriendo entre las sombras, confundido y desorientado, al mosaico de presidentes norteamericanos, la escena corta luego a un plano tan abierto del auditorio que el carrito de golf de Hammond es apenas un punto gris imperceptible que se acerca en la imagen. La distancia que adopta la cámara es un presagio de lo inevitable. Con el final de la música, se escuchan los tiros y desde aquel plano tan bierto, un corte brusco a un plano medio de Hammond recibiendo los disparos. El regreso al plano general desde arriba, donde los manteles decorativos conforman una suerte de patrón patriótico, resalta la frialdad del asesino, situado a una distancia abismal de su sujeto que impide cualquier tipo de empatía. El cuerpo moribundo del senador conduce por inercia el carrito y atropella las mesas una por una en una quietud agonizante donde ya no queda nada más por hacer. El falso optimismo se derrumba y el desamparo se repercute en cada centímetro del gran salón. </span>\n\n<span style=\"font-weight: 400;\">Al prólogo le corresponde un epílogo. Un comité especial anuncia los resultados de la investigación llevada a cabo tras la muerte del senador Hammond donde se le atribuye a Frady como único autor de los hechos. La cámara aquí inicia su desplazamiento partiendo del mismo encuadre que había terminado en la audiencia de Carroll, sin previo aviso y con los rostros maquiavélicos fijando la mirada hacia nosotros, su audiencia. A medida que las palabras hacen eco de sus mentiras, el plano se va alejando hasta que los siete miembros quedan reducidos a puntos ínfimos que desaparecen a plena vista. El efecto paralaje, naturalizado en nuestro modo de mirar y percibir las cosas, donde absolutamente todo adquiere </span><a href=\"https://i.makeagif.com/media/9-10-2015/fBOBKt.gif\"><span style=\"font-weight: 400;\">movimiento</span></a><span style=\"font-weight: 400;\"> y tridimensionalidad, se dilucide en </span><b><i>The Parallax View </i></b><span style=\"font-weight: 400;\">con un trazado circular que retorna a su inicio, un asesinato político y un falso culpable. Exasperación y pesimismo, las dos caras de un mundo confuso que prescinde de nuestra existencia, porque el paralaje aquí es una mera ilusión que obra sobre el delirio de justicia. De nada ha servido la lejanía o la cercanía, el final ha sido el mismo porque como bien explica la óptica, y lo constata Alan Pakula, los objetos no cambian, son los mismos. Mejor asumir que nuestra vida es trivial frente a intrigas políticas de semejante magnitud.</span>\n\n<span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span>','The Parallax View (1974)','','inherit','closed','closed','','1289-revision-v1','','','2020-07-20 14:11:51','2020-07-20 18:11:51','',1289,'http://lapistoladechejov.com/2020/07/20/1289-revision-v1/',0,'revision','',0),(1283,2,'2020-07-17 16:48:28','2020-07-17 20:48:28','','a russian youth','','inherit','open','closed','','a-russian-youth','','','2020-07-17 16:48:28','2020-07-17 20:48:28','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/07/a-russian-youth.jpg',0,'attachment','image/jpeg',0),(1284,2,'2020-07-17 16:48:33','2020-07-17 20:48:33','','beapole','','inherit','open','closed','','beapole','','','2020-07-17 16:48:33','2020-07-17 20:48:33','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/07/beapole.jpg',0,'attachment','image/jpeg',0),(1285,2,'2020-07-17 16:48:38','2020-07-17 20:48:38','','la protagonista','','inherit','open','closed','','la-protagonista','','','2020-07-17 16:48:38','2020-07-17 20:48:38','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/07/la-protagonista.jpg',0,'attachment','image/jpeg',0),(1286,2,'2020-07-17 16:48:43','2020-07-17 20:48:43','','never rarely sometimes always','','inherit','open','closed','','never-rarely-sometimes-always','','','2020-07-17 16:48:43','2020-07-17 20:48:43','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/07/never-rarely-sometimes-always.jpg',0,'attachment','image/jpeg',0),(1287,2,'2020-07-17 16:48:48','2020-07-17 20:48:48','','the wind will carry us','','inherit','open','closed','','the-wind-will-carry-us','','','2020-07-17 16:48:48','2020-07-17 20:48:48','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/07/the-wind-will-carry-us.jpg',0,'attachment','image/jpeg',0),(1289,2,'2020-07-20 14:12:18','2020-07-20 18:12:18','<h2>Engaños ópticos</h2>\n<span style=\"font-weight: 400;\">Del griego </span><i><span style=\"font-weight: 400;\">parallaxis</span></i><span style=\"font-weight: 400;\">, que significa diferencia o cambio, el paralaje es la desviación aparente de la posición de un objeto que ocurre cuando se lo observa desde distintos puntos de vista. El paralaje puede ser un error de </span><a href=\"https://cdn0.vox-cdn.com/thumbor/IH2SurXDgIoQJkcKV5a27FKdyt0=/0x0:515x300/920x0/filters:focal(0x0:515x300):no_upscale()/cdn1.vox-cdn.com/uploads/chorus_asset/file/7537327/4th1.0.gif\"><span style=\"font-weight: 400;\">medición</span></a><span style=\"font-weight: 400;\">, por ejemplo si miramos el indicador de un recipiente desde un ángulo oblicuo, o un efecto predeterminado en </span><a href=\"https://codemyui.com/wp-content/uploads/2017/07/Parallax-Effect-on-Hover.mp4\"><span style=\"font-weight: 400;\">wix</span></a><span style=\"font-weight: 400;\"> que agrega una sensación de tridimensionalidad a imágenes despegadas de su fondo, donde los elementos más lejanos se desplazan a una velocidad menor que los objetos más cercanos. En la fotografía, el paralaje ocurre cuando la imagen observada a través del visor no coincide con lo capturado por el objetivo de la cámara, lo cual implica que el visor ha sido montado en un eje diferente que la lente. Y en el cine, el paralaje es una película, </span><b><i>The Parallax View</i></b><span style=\"font-weight: 400;\"> (1974), deficientemente traducida como </span><i><span style=\"font-weight: 400;\">El último testigo</span></i><span style=\"font-weight: 400;\"> o </span><i><span style=\"font-weight: 400;\">Asesinos S.A. </span></i><span style=\"font-weight: 400;\">según el país donde nos encontremos (¿paralaje lingüístico?).</span>\n\n<span style=\"font-weight: 400;\">Una suerte de prólogo abre el relato. Durante los festejos del Día de la Independencia, el senador Carroll es asesinado en la Aguja Espacial de Seattle delante de los ojos de varios testigos, incluyendo el reportero Joe Frady y nosotros mismos. Entre un cúmulo de rostros aún no identificados y el tumulto del evento mediático, el primer plano de un camarero anónimo es indicio suficiente para intuir su presencia hostil. El desenlace atroz se resuelve en contados segundos antes siquiera que podemos comprender dónde reposar la atención: el camarero anónimo intercambia lugares con otro camarero, Carroll anuncia su partida y mientras agradece a los presentes es acribillado en pleno discurso de despedida. La violencia, rápida y desmedida, es una sacudida repentina. Desde afuera, la reportera y el asesor del político observan descolocados el inesperado y brutal asesinato. La escena corta al interior de la torre, donde en medio del frenesí, un camarero armado es detenido por la multitud casi al mismo tiempo en el que el camarero anónimo de mirada inmutable guarda su arma; él es el verdadero asesino. Mientras los agentes de seguridad persiguen al camarero incorrecto, producto una especie de efecto de paralaje que les impidió ver de dónde provino el tiro, el autor real de los hechos se escapa. Camarero anónimo acaba libre en las calles, camarero cómplice cae de la torre y muere sin poder decir nada. La impotencia que suscita este momento abarca la magnitud del cuadro y se desvanece con el grito del inocente. </span>\n\n<span style=\"font-weight: 400;\">Algunos meses después, durante una audiencia judicial, un comité especial anuncia su veredicto final sobre el caso: el senador Carroll fue asesinado por un patriota fanático motivado por sus ansias de reconocimiento público. Los rostros ocultos de los siete integrantes del comité, enmarcados en un cuadro rectangular de madera y cuero oscuro es una imagen tétrica, siete justicieros del apocalipsis guiados por el águila calva, emblema de una nación carroñera. Mientras la cámara se acerca a ellos en un movimiento de desplazamiento frontal, una voz reitera con énfasis que no existe ninguna conspiración tras los hechos, y que el asesino actuó solo. El tono turbio, vidrioso, es solo un anticipo de lo que nos espera, un relato que nos irá adentrando lentamente en una atmósfera apesadumbrada donde los héroes no existen y son insignificantes frente a un poder infame. </span>\n\n<span style=\"font-weight: 400;\">Lo que va sucediendo después enmarca la historia entre la búsqueda de Frady por desenmascarar la verdad antes que ocurra otro homicidio y el actuar de una empresa que recluta potenciales criminales para misiones de alto riesgo. Esta corporación amorfa, impersonal, casi intangible salvo un cartel en la fachada de un edificio de curvas sinuosas, dotan al enemigo de un carácter irreconocible, un manto brumoso que todo lo ve y manipula a su antojo. ¿Quiénes son los dueños de Parallax S.A.? ¿Cómo eligen sus objetivos? ¿Cómo se comunican con sus empleados?</span>\n\n<b><i>The Parallax View </i></b><span style=\"font-weight: 400;\">juega con la alternancia de puntos de vista de la cámara que adopta distancias diferentes e implica un desajuste en la mirada. Por un lado está la visión de Frady, el protagonista-partícipe quien sube al carrito de tren y confirma a través de su fuente que es posible maquillar un asesinato para que parezca un paro cardiaco. Pero él es incapaz de presentir una mirada externa y lejana, esa sensación de estar siendo observado que genera un plano tan abierto. Y por el otro, nuestra posición de testigo-observador que reposa sobre los rostros de los fallecidos. Un primer plano de la reportera o del jefe de Frady son planos que no se corresponden al punto de vista del protagonista ya que su reacción nos es vedada o ignorada por más que cohabite el plano con la víctima. El modo de narrar está impregnado además por la existencia de un poder lejano e inalcanzable donde los atentados hacia la vida de Frady se suceden en planos tan abiertos que implican dos verdades contradictorias: al observar de lejos la explosión en el barco, o el forcejeo en el arroyo caudaloso se percibe un panorama general de los hechos, un </span><i><span style=\"font-weight: 400;\">mastershot </span></i><span style=\"font-weight: 400;\">perfecto donde se ve todo, pero esta amplitud a su vez imposibilita cualquier aproximación que arroje nuevos datos sobre la intriga. Él está solo, siempre lo estuvo y siempre lo estará,una persona desdeñable frente a esta maquinaria ubicua y mercenaria, pero sobre todo invisible. </span>\n\n<span style=\"font-weight: 400;\">Aún así, Frady consigue sobrevivir hasta la última secuencia, el ensayo preliminar de un mitin político donde hablará el senador Hammond. Llegado a este punto, el reportero ha conseguido desplazarse al otro punto de vista, el del asesino. Y del otro lado de la pantalla, es imposible no albergar un ápice de esperanza porque salvar al senador, un personaje intrascendente para la historia, es restaurar la fe en la justicia y desenmascarar al fin la conspiración con un hecho concreto. Mientras que en el suelo Hammond se pasea entre las mesas del auditorio y repasa los detalles del evento con sus asesores, Frady espía los andares de un hombre desconocido que se prepara para llevar a cabo su cometido. Está tan cerca de lograrlo que el fracaso golpea como una bala. Una muerte súbita. De un plano suyo donde se lo ve corriendo entre las sombras, confundido y desorientado, al mosaico de presidentes norteamericanos, la escena corta luego a un plano tan abierto del auditorio que el carrito de golf de Hammond es apenas un punto gris imperceptible que se acerca en la imagen. La distancia que adopta la cámara es un presagio de lo inevitable. Con el final de la música, se escuchan los tiros y desde aquel plano tan bierto, un corte brusco a un plano medio de Hammond recibiendo los disparos. El regreso al plano general desde arriba, donde los manteles decorativos conforman una suerte de patrón patriótico, resalta la frialdad del asesino, situado a una distancia abismal de su sujeto que impide cualquier tipo de empatía. El cuerpo moribundo del senador conduce por inercia el carrito y atropella las mesas una por una en una quietud agonizante donde ya no queda nada más por hacer. El falso optimismo se derrumba y el desamparo se repercute en cada centímetro del gran salón. </span>\n\n<span style=\"font-weight: 400;\">Al prólogo le corresponde un epílogo. Un comité especial anuncia los resultados de la investigación llevada a cabo tras la muerte del senador Hammond donde se le atribuye a Frady como único autor de los hechos. La cámara aquí inicia su desplazamiento partiendo del mismo encuadre que había terminado en la audiencia de Carroll, sin previo aviso y con los rostros maquiavélicos fijando la mirada hacia nosotros, su audiencia. A medida que las palabras hacen eco de sus mentiras, el plano se va alejando hasta que los siete miembros quedan reducidos a puntos ínfimos que desaparecen a plena vista. El efecto paralaje, naturalizado en nuestro modo de mirar y percibir las cosas, donde absolutamente todo adquiere </span><a href=\"https://i.makeagif.com/media/9-10-2015/fBOBKt.gif\"><span style=\"font-weight: 400;\">movimiento</span></a><span style=\"font-weight: 400;\"> y tridimensionalidad, se dilucide en </span><b><i>The Parallax View </i></b><span style=\"font-weight: 400;\">con un trazado circular que retorna a su inicio, un asesinato político y un falso culpable. Exasperación y pesimismo, las dos caras de un mundo confuso que prescinde de nuestra existencia, porque el paralaje aquí es una mera ilusión que obra sobre el delirio de justicia. De nada ha servido la lejanía o la cercanía, el final ha sido el mismo porque como bien explica la óptica, y lo constata Alan Pakula, los objetos no cambian, son los mismos. Mejor asumir que nuestra vida es trivial frente a intrigas políticas de semejante magnitud.</span>','The Parallax View (1974)','','publish','open','open','','the-parallax-view-1974','','','2020-10-13 15:35:04','2020-10-13 18:35:04','',0,'http://lapistoladechejov.com/?p=1289',0,'post','',0),(1290,2,'2020-07-20 14:10:15','2020-07-20 18:10:15','','the parallax view 1','','inherit','open','closed','','the-parallax-view-1','','','2020-07-20 14:10:26','2020-07-20 18:10:26','',1289,'http://lapistoladechejov.com/wp-content/uploads/2020/07/the-parallax-view-1.jpg',0,'attachment','image/jpeg',0),(1288,2,'2020-07-17 16:58:41','2020-07-17 20:58:41','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"alignleft size-thumbnail wp-image-1285\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/la-protagonista-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Sobre torpezas e incomodidades. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/la-protagonista/\">http://www.elespectadorimaginario.com/la-protagonista/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1283\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/a-russian-youth-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Entre bombas y platillos. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/a-russian-youth/\">http://www.elespectadorimaginario.com/a-russian-youth/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1287\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/the-wind-will-carry-us-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Un cálido sentimiento de existencia. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/\">http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1284\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/beapole-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Heridas descosidas. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/una-gran-mujer/\">http://www.elespectadorimaginario.com/una-gran-mujer/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1286\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/never-rarely-sometimes-always-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Ojalá que nunca. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/never-rarely-sometimes-always/\">http://www.elespectadorimaginario.com/never-rarely-sometimes-always/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1242\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/los-sonambulos-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Adormecidos bajo el calor veraniego. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/los-sonambulos/\">http://www.elespectadorimaginario.com/los-sonambulos/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1240\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/el-silencio-150x150.jpeg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Memoria y libertad. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/memoria-y-libertad/\">http://www.elespectadorimaginario.com/memoria-y-libertad/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1241\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/i-was-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Los vacíos del pero. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/estaba-en-casa-pero/\">http://www.elespectadorimaginario.com/estaba-en-casa-pero/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1093\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3-150x150.jpg\" alt=\"Bacurau\" width=\"150\" height=\"150\" /></p>\n<p>Vazquez, A. (2020, abril). Más brutal que la fantasía. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/bacurau/\">http://www.elespectadorimaginario.com/bacurau/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1175\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Amor en tiempos de mafia. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/first-love/\">http://www.elespectadorimaginario.com/first-love/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1176\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Resistiendo al tiempo. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/resistiendo-al-tiempo/\">http://www.elespectadorimaginario.com/resistiendo-al-tiempo/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1177\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Serge Daney y la Cahiers. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/\">http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1178\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). Elegante violencia al estilo neo-noir. El espectador Imaginario, (110). <a href=\"http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/\">http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1179\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). El precio del martirio. El espectador Imaginario, (110). <a href=\"https://www.elespectadorimaginario.com/vida-oculta/\">https://www.elespectadorimaginario.com/vida-oculta/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2020-07-17 16:58:41','2020-07-17 20:58:41','',812,'http://lapistoladechejov.com/2020/07/17/812-revision-v1/',0,'revision','',0),(1356,2,'2020-10-13 15:34:59','2020-10-13 18:34:59','<h2>Engaños ópticos</h2>\n<span style=\"font-weight: 400;\">Del griego </span><i><span style=\"font-weight: 400;\">parallaxis</span></i><span style=\"font-weight: 400;\">, que significa diferencia o cambio, el paralaje es la desviación aparente de la posición de un objeto que ocurre cuando se lo observa desde distintos puntos de vista. El paralaje puede ser un error de </span><a href=\"https://cdn0.vox-cdn.com/thumbor/IH2SurXDgIoQJkcKV5a27FKdyt0=/0x0:515x300/920x0/filters:focal(0x0:515x300):no_upscale()/cdn1.vox-cdn.com/uploads/chorus_asset/file/7537327/4th1.0.gif\"><span style=\"font-weight: 400;\">medición</span></a><span style=\"font-weight: 400;\">, por ejemplo si miramos el indicador de un recipiente desde un ángulo oblicuo, o un efecto predeterminado en </span><a href=\"https://codemyui.com/wp-content/uploads/2017/07/Parallax-Effect-on-Hover.mp4\"><span style=\"font-weight: 400;\">wix</span></a><span style=\"font-weight: 400;\"> que agrega una sensación de tridimensionalidad a imágenes despegadas de su fondo, donde los elementos más lejanos se desplazan a una velocidad menor que los objetos más cercanos. En la fotografía, el paralaje ocurre cuando la imagen observada a través del visor no coincide con lo capturado por el objetivo de la cámara, lo cual implica que el visor ha sido montado en un eje diferente que la lente. Y en el cine, el paralaje es una película, </span><b><i>The Parallax View</i></b><span style=\"font-weight: 400;\"> (1974), deficientemente traducida como </span><i><span style=\"font-weight: 400;\">El último testigo</span></i><span style=\"font-weight: 400;\"> o </span><i><span style=\"font-weight: 400;\">Asesinos S.A. </span></i><span style=\"font-weight: 400;\">según el país donde nos encontremos (¿paralaje lingüístico?).</span>\n\n<span style=\"font-weight: 400;\">Una suerte de prólogo abre el relato. Durante los festejos del Día de la Independencia, el senador Carroll es asesinado en la Aguja Espacial de Seattle delante de los ojos de varios testigos, incluyendo el reportero Joe Frady y nosotros mismos. Entre un cúmulo de rostros aún no identificados y el tumulto del evento mediático, el primer plano de un camarero anónimo es indicio suficiente para intuir su presencia hostil. El desenlace atroz se resuelve en contados segundos antes siquiera que podemos comprender dónde reposar la atención: el camarero anónimo intercambia lugares con otro camarero, Carroll anuncia su partida y mientras agradece a los presentes es acribillado en pleno discurso de despedida. La violencia, rápida y desmedida, es una sacudida repentina. Desde afuera, la reportera y el asesor del político observan descolocados el inesperado y brutal asesinato. La escena corta al interior de la torre, donde en medio del frenesí, un camarero armado es detenido por la multitud casi al mismo tiempo en el que el camarero anónimo de mirada inmutable guarda su arma; él es el verdadero asesino. Mientras los agentes de seguridad persiguen al camarero incorrecto, producto una especie de efecto de paralaje que les impidió ver de dónde provino el tiro, el autor real de los hechos se escapa. Camarero anónimo acaba libre en las calles, camarero cómplice cae de la torre y muere sin poder decir nada. La impotencia que suscita este momento abarca la magnitud del cuadro y se desvanece con el grito del inocente. </span>\n\n<span style=\"font-weight: 400;\">Algunos meses después, durante una audiencia judicial, un comité especial anuncia su veredicto final sobre el caso: el senador Carroll fue asesinado por un patriota fanático motivado por sus ansias de reconocimiento público. Los rostros ocultos de los siete integrantes del comité, enmarcados en un cuadro rectangular de madera y cuero oscuro es una imagen tétrica, siete justicieros del apocalipsis guiados por el águila calva, emblema de una nación carroñera. Mientras la cámara se acerca a ellos en un movimiento de desplazamiento frontal, una voz reitera con énfasis que no existe ninguna conspiración tras los hechos, y que el asesino actuó solo. El tono turbio, vidrioso, es solo un anticipo de lo que nos espera, un relato que nos irá adentrando lentamente en una atmósfera apesadumbrada donde los héroes no existen y son insignificantes frente a un poder infame. </span>\n\n<span style=\"font-weight: 400;\">Lo que va sucediendo después enmarca la historia entre la búsqueda de Frady por desenmascarar la verdad antes que ocurra otro homicidio y el actuar de una empresa que recluta potenciales criminales para misiones de alto riesgo. Esta corporación amorfa, impersonal, casi intangible salvo un cartel en la fachada de un edificio de curvas sinuosas, dotan al enemigo de un carácter irreconocible, un manto brumoso que todo lo ve y manipula a su antojo. ¿Quiénes son los dueños de Parallax S.A.? ¿Cómo eligen sus objetivos? ¿Cómo se comunican con sus empleados?</span>\n\n<b><i>The Parallax View </i></b><span style=\"font-weight: 400;\">juega con la alternancia de puntos de vista de la cámara que adopta distancias diferentes e implica un desajuste en la mirada. Por un lado está la visión de Frady, el protagonista-partícipe quien sube al carrito de tren y confirma a través de su fuente que es posible maquillar un asesinato para que parezca un paro cardiaco. Pero él es incapaz de presentir una mirada externa y lejana, esa sensación de estar siendo observado que genera un plano tan abierto. Y por el otro, nuestra posición de testigo-observador que reposa sobre los rostros de los fallecidos. Un primer plano de la reportera o del jefe de Frady son planos que no se corresponden al punto de vista del protagonista ya que su reacción nos es vedada o ignorada por más que cohabite el plano con la víctima. El modo de narrar está impregnado además por la existencia de un poder lejano e inalcanzable donde los atentados hacia la vida de Frady se suceden en planos tan abiertos que implican dos verdades contradictorias: al observar de lejos la explosión en el barco, o el forcejeo en el arroyo caudaloso se percibe un panorama general de los hechos, un </span><i><span style=\"font-weight: 400;\">mastershot </span></i><span style=\"font-weight: 400;\">perfecto donde se ve todo, pero esta amplitud a su vez imposibilita cualquier aproximación que arroje nuevos datos sobre la intriga. Él está solo, siempre lo estuvo y siempre lo estará,una persona desdeñable frente a esta maquinaria ubicua y mercenaria, pero sobre todo invisible. </span>\n\n<span style=\"font-weight: 400;\">Aún así, Frady consigue sobrevivir hasta la última secuencia, el ensayo preliminar de un mitin político donde hablará el senador Hammond. Llegado a este punto, el reportero ha conseguido desplazarse al otro punto de vista, el del asesino. Y del otro lado de la pantalla, es imposible no albergar un ápice de esperanza porque salvar al senador, un personaje intrascendente para la historia, es restaurar la fe en la justicia y desenmascarar al fin la conspiración con un hecho concreto. Mientras que en el suelo Hammond se pasea entre las mesas del auditorio y repasa los detalles del evento con sus asesores, Frady espía los andares de un hombre desconocido que se prepara para llevar a cabo su cometido. Está tan cerca de lograrlo que el fracaso golpea como una bala. Una muerte súbita. De un plano suyo donde se lo ve corriendo entre las sombras, confundido y desorientado, al mosaico de presidentes norteamericanos, la escena corta luego a un plano tan abierto del auditorio que el carrito de golf de Hammond es apenas un punto gris imperceptible que se acerca en la imagen. La distancia que adopta la cámara es un presagio de lo inevitable. Con el final de la música, se escuchan los tiros y desde aquel plano tan bierto, un corte brusco a un plano medio de Hammond recibiendo los disparos. El regreso al plano general desde arriba, donde los manteles decorativos conforman una suerte de patrón patriótico, resalta la frialdad del asesino, situado a una distancia abismal de su sujeto que impide cualquier tipo de empatía. El cuerpo moribundo del senador conduce por inercia el carrito y atropella las mesas una por una en una quietud agonizante donde ya no queda nada más por hacer. El falso optimismo se derrumba y el desamparo se repercute en cada centímetro del gran salón. </span>\n\n<span style=\"font-weight: 400;\">Al prólogo le corresponde un epílogo. Un comité especial anuncia los resultados de la investigación llevada a cabo tras la muerte del senador Hammond donde se le atribuye a Frady como único autor de los hechos. La cámara aquí inicia su desplazamiento partiendo del mismo encuadre que había terminado en la audiencia de Carroll, sin previo aviso y con los rostros maquiavélicos fijando la mirada hacia nosotros, su audiencia. A medida que las palabras hacen eco de sus mentiras, el plano se va alejando hasta que los siete miembros quedan reducidos a puntos ínfimos que desaparecen a plena vista. El efecto paralaje, naturalizado en nuestro modo de mirar y percibir las cosas, donde absolutamente todo adquiere </span><a href=\"https://i.makeagif.com/media/9-10-2015/fBOBKt.gif\"><span style=\"font-weight: 400;\">movimiento</span></a><span style=\"font-weight: 400;\"> y tridimensionalidad, se dilucide en </span><b><i>The Parallax View </i></b><span style=\"font-weight: 400;\">con un trazado circular que retorna a su inicio, un asesinato político y un falso culpable. Exasperación y pesimismo, las dos caras de un mundo confuso que prescinde de nuestra existencia, porque el paralaje aquí es una mera ilusión que obra sobre el delirio de justicia. De nada ha servido la lejanía o la cercanía, el final ha sido el mismo porque como bien explica la óptica, y lo constata Alan Pakula, los objetos no cambian, son los mismos. Mejor asumir que nuestra vida es trivial frente a intrigas políticas de semejante magnitud.</span>','The Parallax View (1974)','','inherit','closed','closed','','1289-revision-v1','','','2020-10-13 15:34:59','2020-10-13 18:34:59','',1289,'http://lapistoladechejov.com/2020/10/13/1289-revision-v1/',0,'revision','',0),(1293,2,'2020-07-28 12:04:00','2020-07-28 16:04:00','Golden Eighties','st','','inherit','open','closed','','st','','','2020-07-28 12:04:24','2020-07-28 16:04:24','',1292,'http://lapistoladechejov.com/wp-content/uploads/2020/07/st.png',0,'attachment','image/png',0),(1294,2,'2020-07-28 12:06:41','2020-07-28 16:06:41','<h2>Ladrón que roba a ladrón</h2>\n<span style=\"font-weight: 400;\">Casi cincuenta años después de los gritos desconsolados de Bruno al ver a su padre siendo zarandeado por una multitud enfurecida en</span><b><i> Ladrón de bicicletas</i></b><span style=\"font-weight: 400;\">, en algún barrio de Buenos Aires, Lucio deambula descalzo. Le han robado casi todo, su moto, su billetera y sus zapatillas. Son las cuatro de la mañana y él, sereno e inmutable, no se preocupa por hacer la denuncia. “Esto te va a cambiar la vida”, le asegura su amigo Damián, a lo que Lucio responde con un tono desprendido y escueto “La vida... ¿Cuánto calzás, Damián?”. ¿Cómo es la vida para los adolescentes en </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">? O dicho de otro modo, ¿qué disimula esos andares indiferentes donde a diferencia del personaje de De Sica da lo mismo raparse la cabeza o robar una moto?</span>\n\n<span style=\"font-weight: 400;\">Hace unas cuantas semanas, no recuerdo bien, había leído un titular sensacionalista que afirmaba un aumento considerable de personas rapadas y lo relacionaba con el confinamiento y las ansias de un supuesto cambio radical en las apariencias físicas. Nada pareciera ser más opuesto al momento en que Lucio se rapa. Mientras volvía de la casa de un amigo donde se había olvidado el reloj, el único objeto que no le robaron aquella noche, Lucio pasa frente a una peluquería. En un plano abierto, la cámara lo acompaña lateralmente, desde que visualiza el lugar y hasta que se detiene y vuelve, una vacilación que se resuelve tan pronto pronunciamos el título de la película y que apuntala a describir personajes anodinos circunscritos a casualidades citadinas.</span>\n\n<b><i>Rapado</i></b><span style=\"font-weight: 400;\"> pareciera remarcar las lagunas de una generación inerte al tiempo donde las carencias se suplen con silencios empáticos y miradas cómplices. Así, un joven ofrece un cigarrillo a Lucio, pero no tiene fuego, o cada tanto algún personaje intenta comprar algo con un billete falso sin temor a que sus acciones trasciendan más allá del ingenuo tanteo. Los recorridos de Lucio por las calles vacías indagan sobre su fascinación temporal por concretar un robo imitando el comportamiento de otros. La repetición de estos gestos, sea el modo de romper una cadena o el modo de asaltar con un cuchillo, son patrones reiterados y propagados entre sus personajes como las ondas sonoras que utilizan los murciélagos para escuchar. ¿Quién roba a quién? Pero no es lo único repetitivo, ya que la insistencia se da además en la presencia de ciertos sitios como el lugar de videojuegos o incluso los dormitorios y que, irónicamente, otorga una impresión de inacción, o al menos de estar yendo y viniendo de los mismos lugares. </span>\n\n<span style=\"font-weight: 400;\">El caminar de Lucio, un tanto rígido y un tanto desprovisto de naturalidad, remite a un personaje de Bresson en desconexión con su cuerpo pero que aún así habla sin decir mucho y espera sin resistencia alguna su merecido, por más que este sea un escupitajo en la cara tras un intento de robo fallido. ¿Y qué hacen los personajes cuando están solos en su habitación? Nada. A veces duermen, otras veces esconden una sierra bajo el colchón y la vuelven a esconder. En </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">, la inmovilidad es una carga pesada, pero deshacerse de ella implica un cambio de vida extremo, como dejar a la familia fumadora para tener un mejor estado físico, donde la recompensa no vale tanto el esfuerzo; mejor abandonar la moto robada en medio de la ruta antes que acarrear con ella o siquiera pensar en arreglarla.</span>\n\n<span style=\"font-weight: 400;\">Si en la película de De Sica, el robo perpetrado por Antonio significó la vergüenza absoluta de su personaje, en </span><b><i>Rapado</i></b><span style=\"font-weight: 400;\">, el robo de la motocicleta fue una constatación de que la vida no cambió mucho más que el corte de pelo. Quizás mañana nos toque andar descalzos.</span>\n\n<span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span>','Rapado (1992)','','inherit','closed','closed','','1271-autosave-v1','','','2020-07-28 12:06:41','2020-07-28 16:06:41','',1271,'http://lapistoladechejov.com/2020/07/28/1271-autosave-v1/',0,'revision','',0),(1295,2,'2020-07-28 12:07:20','2020-07-28 16:07:20','Golden Eighties','golden 2','','inherit','open','closed','','golden-2','','','2020-07-28 12:07:37','2020-07-28 16:07:37','',1292,'http://lapistoladechejov.com/wp-content/uploads/2020/07/golden-2.jpg',0,'attachment','image/jpeg',0),(1296,2,'2020-07-28 12:07:38','2020-07-28 16:07:38','<h2>Placeres reflejados</h2>\nLa galería de un centro comercial es el escenario idóneo para un musical moderno donde la realidad no tiene cabida y el amor que se exhibe en las vidrieras de las tiendas es tan fluctuante como las tendencias del mercado y de la moda. Entre besos apasionados, una joven peluquera declara su amor a un joven trajeado. Al romper el beso, ella suspira y gira el rostro hacia otro joven. Ellos se besan, ella le dice que le ama y luego se retira, dejando a ambos hombres embobados en la escalera. Esta sensación de atontamiento persiste a lo largo de <strong><em>Golden Eighties</em></strong>, una fantasía de colores estridentes y panes de plástico, donde cada elemento de la puesta en escena remarca el carácter artificial de la película. Y lo hace con goce y con disfrute. El resultado, una fascinación momentánea y el viaje a un mundo donde los enojos son pasajeros y los desamores transitorios.\n\nEl espacio interior es un escenario teatral que termina en los peldaños de la escalera que conduce al exterior, al mundo real. Afuera, el tiempo transcurre como siempre, pero en este mundo idílico existen otras reglas, la soltura y el descaro. Las dos tiendas, la peluquería de Lili y la boutique de Jeanne, son dos espacios oponentes que se articulan mediante la cafetería. En la barra, los chismes se sirven con la misma facilidad que un vaso de coca cola. Robert, el hijo de la familia propietaria de la tienda de ropas, es el objeto de deseo de las chicas de enfrente, en especial de Mado. “Quizás sea muy bueno para nosotras”, canta una de las chicas, muy alto, muy adinerado, muy elegante. De estas tres afirmaciones, quizás la segunda sea más o menos cierta porque Robert es nada más que un niño grande, un bebé encaprichado que hace y deshace compromisos a su antojo. Pero Mado no es la única que adolece el desamor. La dueña de la cafetería vive pendiente de las cartas de su pareja que se encuentra en otro país, el Sr. Jean es incapaz de olvidarse de Lili, y la presencia casual de un norteamericano despierta recuerdos enterrados en Jeanne.\n\nEl romance se propaga en cada línea de diálogo y en cada anécdota narrada, una carta de amor que se lee una y otra vez. Aquí, cada uno es partícipe de la historia del otro y la vive como si estuviera viviendo en una película, un poco como nosotros con este musical. En <strong><em>Golden Eighties </em></strong>la privacidad no existe. Los paños de vidrio de las tiendas que separan un lugar del otro permiten vislumbrar cada rincón de la galería; por más que la cámara se sitúe en la boutique, el movimiento de la peluquería es igualmente visible y viceversa. En este decorado de transparencias y de ambientes translúcidos, solo las cortinas pueden dar una intimidad aparente, como los telones de un teatro que se abren y se cierran y que fragmentan el espacio en micro cápsulas narrativas. Privacidad disimulada, porque nadie parece escuchar las conversaciones del otro a través de las telas, como si el tejido estuviera dotado de una capacidad aislante. El problema es cuando se deja entrever los pies entre ese espacio libre que queda entre el piso y la cortina, porque ocultarse no es tarea fácil.\n\nEn <strong><em>Golden Eighties </em></strong>el amor es ilógico como las coreografías caricaturescas y ajetreadas que marcan el movimiento de los personajes en escena, y la jornada laboral es tan efímera como un aguacero que al parecer moja a los transeúntes. Las chicas de la peluquería nada más fingen trabajar, spray aquí, spray allá, toalla aquí, toalla allá, mientras que los jóvenes cizañeros disimulan no estar prestando atención a lo que sucede pero ingresan al cuadro para arrojar su apreciación sobre los hechos. El ingreso absurdo de una horda de extras marca el paso del tiempo (¿será la hora del almuerzo?); tan pronto como Robert se compromete con Mado, el día ha llegado a su fin. Y los clientes son figuras anónimas olvidadas que reclaman atención sin éxito alguno y que existen como aderezos visuales salpicados que entran y salen del cuadro como la utilería de una obra.\n\nLos números musicales que se dirigen directamente a cámara demandan una compenetración espontánea con nosotros, sea una confesión donde el diálogo se establece entre ellos y nosotros, o la complicidad de una melodía pegajosa que nos anticipa un desenlace desastroso. En este juego de mirar y ser mirado, de descubrir en la profundidad de campo el vuelo de un cepillo o un saludo, el movimiento es incesante, tanto así que al terminar la película pareciera que fuimos absorbidos por el trajín de la galería. La cámara se acerca y se aleja, declara y confiesa. Nos envuelve en la turba de personas que separan a los amantes, y desnuda en sus superficies transparentes que nos devuelven infinitos reflejos. Espacio, personaje y movimiento se entremezclan en una comedia burlesca donde las cosas son más sencillas: siempre y cuando devolvamos los regalos de casamiento, cancelar una boda un día antes no tiene mayores implicancias.\n\nEn <strong><em>Golden Eighties</em></strong> Chantal Akerman se desplaza libremente entre los rincones que ofrece el comercio y los espacios intermedios entre una tienda y otra, así como manipula a su antojo las líricas osadas y los guiños al musical. Su mirada despreocupada encuentra así una sonrisa auténtica que al fin y al cabo es más real que cualquier artilugio de la representación o cualquier casualidad mal catalogada como “error” por los defensores del relato invisible. Porque <strong><em>Golden Eighties</em></strong> es por sobre todas las cosas, un escaparate del amor y del romance donde es posible encontrar esto, un gesto de placer absoluto reflejado por quien nos mira. Hola, Chantal.\n\n<img class=\"aligncenter size-full wp-image-1293\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/st.png\" alt=\"Golden Eighties\" width=\"1780\" height=\"1080\" />\n\n<span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span>','Golden Eighties','','inherit','closed','closed','','1292-revision-v1','','','2020-07-28 12:07:38','2020-07-28 16:07:38','',1292,'http://lapistoladechejov.com/2020/07/28/1292-revision-v1/',0,'revision','',0),(1358,2,'2020-10-13 15:36:00','2020-10-13 18:36:00','<h2>Placeres reflejados</h2>\nLa galería de un centro comercial es el escenario idóneo para un musical moderno donde la realidad no tiene cabida y el amor que se exhibe en las vidrieras de las tiendas es tan fluctuante como las tendencias del mercado y de la moda. Entre besos apasionados, una joven peluquera declara su amor a un joven trajeado. Al romper el beso, ella suspira y gira el rostro hacia otro joven. Ellos se besan, ella le dice que le ama y luego se retira, dejando a ambos hombres embobados en la escalera. Esta sensación de atontamiento persiste a lo largo de <strong><em>Golden Eighties</em></strong>, una fantasía de colores estridentes y panes de plástico, donde cada elemento de la puesta en escena remarca el carácter artificial de la película. Y lo hace con goce y con disfrute. El resultado, una fascinación momentánea y el viaje a un mundo donde los enojos son pasajeros y los desamores transitorios.\n\nEl espacio interior es un escenario teatral que termina en los peldaños de la escalera que conduce al exterior, al mundo real. Afuera, el tiempo transcurre como siempre, pero en este mundo idílico existen otras reglas, la soltura y el descaro. Las dos tiendas, la peluquería de Lili y la boutique de Jeanne, son dos espacios oponentes que se articulan mediante la cafetería. En la barra, los chismes se sirven con la misma facilidad que un vaso de coca cola. Robert, el hijo de la familia propietaria de la tienda de ropas, es el objeto de deseo de las chicas de enfrente, en especial de Mado. “Quizás sea muy bueno para nosotras”, canta una de las chicas, muy alto, muy adinerado, muy elegante. De estas tres afirmaciones, quizás la segunda sea más o menos cierta porque Robert es nada más que un niño grande, un bebé encaprichado que hace y deshace compromisos a su antojo. Pero Mado no es la única que adolece el desamor. La dueña de la cafetería vive pendiente de las cartas de su pareja que se encuentra en otro país, el Sr. Jean es incapaz de olvidarse de Lili, y la presencia casual de un norteamericano despierta recuerdos enterrados en Jeanne.\n\nEl romance se propaga en cada línea de diálogo y en cada anécdota narrada, una carta de amor que se lee una y otra vez. Aquí, cada uno es partícipe de la historia del otro y la vive como si estuviera viviendo en una película, un poco como nosotros con este musical. En <strong><em>Golden Eighties </em></strong>la privacidad no existe. Los paños de vidrio de las tiendas que separan un lugar del otro permiten vislumbrar cada rincón de la galería; por más que la cámara se sitúe en la boutique, el movimiento de la peluquería es igualmente visible y viceversa. En este decorado de transparencias y de ambientes translúcidos, solo las cortinas pueden dar una intimidad aparente, como los telones de un teatro que se abren y se cierran y que fragmentan el espacio en micro cápsulas narrativas. Privacidad disimulada, porque nadie parece escuchar las conversaciones del otro a través de las telas, como si el tejido estuviera dotado de una capacidad aislante. El problema es cuando se deja entrever los pies entre ese espacio libre que queda entre el piso y la cortina, porque ocultarse no es tarea fácil.\n\nEn <strong><em>Golden Eighties </em></strong>el amor es ilógico como las coreografías caricaturescas y ajetreadas que marcan el movimiento de los personajes en escena, y la jornada laboral es tan efímera como un aguacero que al parecer moja a los transeúntes. Las chicas de la peluquería nada más fingen trabajar, spray aquí, spray allá, toalla aquí, toalla allá, mientras que los jóvenes cizañeros disimulan no estar prestando atención a lo que sucede pero ingresan al cuadro para arrojar su apreciación sobre los hechos. El ingreso absurdo de una horda de extras marca el paso del tiempo (¿será la hora del almuerzo?); tan pronto como Robert se compromete con Mado, el día ha llegado a su fin. Y los clientes son figuras anónimas olvidadas que reclaman atención sin éxito alguno y que existen como aderezos visuales salpicados que entran y salen del cuadro como la utilería de una obra.\n\nLos números musicales que se dirigen directamente a cámara demandan una compenetración espontánea con nosotros, sea una confesión donde el diálogo se establece entre ellos y nosotros, o la complicidad de una melodía pegajosa que nos anticipa un desenlace desastroso. En este juego de mirar y ser mirado, de descubrir en la profundidad de campo el vuelo de un cepillo o un saludo, el movimiento es incesante, tanto así que al terminar la película pareciera que fuimos absorbidos por el trajín de la galería. La cámara se acerca y se aleja, declara y confiesa. Nos envuelve en la turba de personas que separan a los amantes, y desnuda en sus superficies transparentes que nos devuelven infinitos reflejos. Espacio, personaje y movimiento se entremezclan en una comedia burlesca donde las cosas son más sencillas: siempre y cuando devolvamos los regalos de casamiento, cancelar una boda un día antes no tiene mayores implicancias.\n\nEn <strong><em>Golden Eighties</em></strong> Chantal Akerman se desplaza libremente entre los rincones que ofrece el comercio y los espacios intermedios entre una tienda y otra, así como manipula a su antojo las líricas osadas y los guiños al musical. Su mirada despreocupada encuentra así una sonrisa auténtica que al fin y al cabo es más real que cualquier artilugio de la representación o cualquier casualidad mal catalogada como “error” por los defensores del relato invisible. Porque <strong><em>Golden Eighties</em></strong> es por sobre todas las cosas, un escaparate del amor y del romance donde es posible encontrar esto, un gesto de placer absoluto reflejado por quien nos mira. Hola, Chantal.\n\n<img class=\"aligncenter size-full wp-image-1293\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/st.png\" alt=\"Golden Eighties\" width=\"1780\" height=\"1080\" />','Golden Eighties (1986)','','inherit','closed','closed','','1292-revision-v1','','','2020-10-13 15:36:00','2020-10-13 18:36:00','',1292,'http://lapistoladechejov.com/2020/10/13/1292-revision-v1/',0,'revision','',0),(1297,2,'2020-07-28 12:09:52','2020-07-28 16:09:52','<h2>Placeres reflejados</h2>\nLa galería de un centro comercial es el escenario idóneo para un musical moderno donde la realidad no tiene cabida y el amor que se exhibe en las vidrieras de las tiendas es tan fluctuante como las tendencias del mercado y de la moda. Entre besos apasionados, una joven peluquera declara su amor a un joven trajeado. Al romper el beso, ella suspira y gira el rostro hacia otro joven. Ellos se besan, ella le dice que le ama y luego se retira, dejando a ambos hombres embobados en la escalera. Esta sensación de atontamiento persiste a lo largo de <strong><em>Golden Eighties</em></strong>, una fantasía de colores estridentes y panes de plástico, donde cada elemento de la puesta en escena remarca el carácter artificial de la película. Y lo hace con goce y con disfrute. El resultado, una fascinación momentánea y el viaje a un mundo donde los enojos son pasajeros y los desamores transitorios.\n\nEl espacio interior es un escenario teatral que termina en los peldaños de la escalera que conduce al exterior, al mundo real. Afuera, el tiempo transcurre como siempre, pero en este mundo idílico existen otras reglas, la soltura y el descaro. Las dos tiendas, la peluquería de Lili y la boutique de Jeanne, son dos espacios oponentes que se articulan mediante la cafetería. En la barra, los chismes se sirven con la misma facilidad que un vaso de coca cola. Robert, el hijo de la familia propietaria de la tienda de ropas, es el objeto de deseo de las chicas de enfrente, en especial de Mado. “Quizás sea muy bueno para nosotras”, canta una de las chicas, muy alto, muy adinerado, muy elegante. De estas tres afirmaciones, quizás la segunda sea más o menos cierta porque Robert es nada más que un niño grande, un bebé encaprichado que hace y deshace compromisos a su antojo. Pero Mado no es la única que adolece el desamor. La dueña de la cafetería vive pendiente de las cartas de su pareja que se encuentra en otro país, el Sr. Jean es incapaz de olvidarse de Lili, y la presencia casual de un norteamericano despierta recuerdos enterrados en Jeanne.\n\nEl romance se propaga en cada línea de diálogo y en cada anécdota narrada, una carta de amor que se lee una y otra vez. Aquí, cada uno es partícipe de la historia del otro y la vive como si estuviera viviendo en una película, un poco como nosotros con este musical. En <strong><em>Golden Eighties </em></strong>la privacidad no existe. Los paños de vidrio de las tiendas que separan un lugar del otro permiten vislumbrar cada rincón de la galería; por más que la cámara se sitúe en la boutique, el movimiento de la peluquería es igualmente visible y viceversa. En este decorado de transparencias y de ambientes translúcidos, solo las cortinas pueden dar una intimidad aparente, como los telones de un teatro que se abren y se cierran y que fragmentan el espacio en micro cápsulas narrativas. Privacidad disimulada, porque nadie parece escuchar las conversaciones del otro a través de las telas, como si el tejido estuviera dotado de una capacidad aislante. El problema es cuando se deja entrever los pies entre ese espacio libre que queda entre el piso y la cortina, porque ocultarse no es tarea fácil.\n\nEn <strong><em>Golden Eighties </em></strong>el amor es ilógico como las coreografías caricaturescas y ajetreadas que marcan el movimiento de los personajes en escena, y la jornada laboral es tan efímera como un aguacero que al parecer moja a los transeúntes. Las chicas de la peluquería nada más fingen trabajar, spray aquí, spray allá, toalla aquí, toalla allá, mientras que los jóvenes cizañeros disimulan no estar prestando atención a lo que sucede pero ingresan al cuadro para arrojar su apreciación sobre los hechos. El ingreso absurdo de una horda de extras marca el paso del tiempo (¿será la hora del almuerzo?); tan pronto como Robert se compromete con Mado, el día ha llegado a su fin. Y los clientes son figuras anónimas olvidadas que reclaman atención sin éxito alguno y que existen como aderezos visuales salpicados que entran y salen del cuadro como la utilería de una obra.\n\nLos números musicales que se dirigen directamente a cámara demandan una compenetración espontánea con nosotros, sea una confesión donde el diálogo se establece entre ellos y nosotros, o la complicidad de una melodía pegajosa que nos anticipa un desenlace desastroso. En este juego de mirar y ser mirado, de descubrir en la profundidad de campo el vuelo de un cepillo o un saludo, el movimiento es incesante, tanto así que al terminar la película pareciera que fuimos absorbidos por el trajín de la galería. La cámara se acerca y se aleja, declara y confiesa. Nos envuelve en la turba de personas que separan a los amantes, y desnuda en sus superficies transparentes que nos devuelven infinitos reflejos. Espacio, personaje y movimiento se entremezclan en una comedia burlesca donde las cosas son más sencillas: siempre y cuando devolvamos los regalos de casamiento, cancelar una boda un día antes no tiene mayores implicancias.\n\nEn <strong><em>Golden Eighties</em></strong> Chantal Akerman se desplaza libremente entre los rincones que ofrece el comercio y los espacios intermedios entre una tienda y otra, así como manipula a su antojo las líricas osadas y los guiños al musical. Su mirada despreocupada encuentra así una sonrisa auténtica que al fin y al cabo es más real que cualquier artilugio de la representación o cualquier casualidad mal catalogada como “error” por los defensores del relato invisible. Porque <strong><em>Golden Eighties</em></strong> es por sobre todas las cosas, un escaparate del amor y del romance donde es posible encontrar esto, un gesto de placer absoluto reflejado por quien nos mira. Hola, Chantal.\n\n<img class=\"aligncenter size-full wp-image-1293\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/st.png\" alt=\"Golden Eighties\" width=\"1780\" height=\"1080\">\n\n<span style=\"color: #808080;\">*Ensayo escrito en el marco del Taller de Crítica dictado por Lautaro García Candela.</span>','Golden Eighties (1986)','','inherit','closed','closed','','1292-revision-v1','','','2020-07-28 12:09:52','2020-07-28 16:09:52','',1292,'http://lapistoladechejov.com/2020/07/28/1292-revision-v1/',0,'revision','',0),(1298,2,'2020-08-03 20:35:09','2020-08-04 00:35:09','<h2>Pasado amputado.</h2>\nLa amputación es una operación quirúrgica tan traumática que incluso mucho tiempo después de la recuperación es posible que se manifieste el dolor fantasma, una angustia persistente y difícil de sanar. Para quienes lo padecen, este dolor es tan real que parece que el miembro amputado estuviera aún ahí, vivo y latente. El cerebro queda desorientado por esta falta y en su confusión envía señales mixtas de otras partes del cuerpo pensando que allí reside algo que ya no está más. ¿Qué sucede entonces cuando la amputación trasciende lo corporal y se separa a una persona de su ciudad? ¿Es posible amputar un pasado sin dejar rastros del miembro desechado?\n\nEn <strong><em>Branco sai, preto fica, </em></strong>Brasilia está regida por una máxima segregacionista: los blancos por un lado, los negros por el otro. Los blancos pueden vivir en la ciudad y los negros deben permanecer en las periferias de la supuesta metrópoli ideal. Una distopía no tan ficticia al considerar que la región de Ceilândia fue creada a partir del traslado forzoso de las personas que se asentaron en la capital durante la construcción de la ciudad “igualitaria”. En la película, sus personajes habitan en las afueras del núcleo urbano, pero recuerdan con derrota los días pasados. Sartana observa la ciudad desde lejos y toma fotografías en un acto de apropiación distante donde las luces se reducen a puntos luminosos desenfocados; Marquim recrea momentos en el club nocturno donde iba a bailar con sus amigos a través de una emisión radial que mezcla beats y diálogo como una radionovela musical. Pero en sus relatos, una noche de marzo del ‘86 llegó la policía, y la brutalidad de las fuerzas armadas dejó sus huellas en ambos hombres, Sartana perdió la pierna y Marquim fue confinado a una silla de ruedas.\n\nLos cuerpos de <strong><em>Branco sai, preto fica </em></strong>están cercenados. Se valen de poleas y bisagras para articularse en el cotidiano. Los espacios que habitan conjugan retazos de chatarra que enlazan cuerpo con estructura, un poco como ellos mismos hoy son carne y hierro. A los ojos del mundo en el que habitan, ellos son la materia sobrante, la rebaba de metal del progreso. Dimas viaja del futuro al presente para encontrar a Sartana y a Maquim, sobrevivientes cuyos testimonios son indispensables en su tiempo para el reconocimiento de las minorías raciales. Su máquina del tiempo, un container, aterriza en medio de Ceilândia sin levantar mayores sospechas. Pero incluso este detective del futuro es prescindible en su misión si no logra su cometido: su regreso se ve siempre amenazado pese al reconocimiento de sus facultades mentales alteradas por el viaje. En este contexto, el tormento físico a causa de una ausencia mayor es el combustible que alimenta la búsqueda de venganza. La cápsula que construye Marquim no solo puede derribar helicópteros sino que pretende insertar a la fuerza la producción musical popular para las clases privilegiadas poseedoras del pasaporte citadino. Sartana, por su parte, modifica el funcionamiento de las prótesis que comercializa para que duren más tiempo. Contra el desprendimiento, la fantasía de una irrupción violenta y la conquista de aquello que fue arrebatado.\n\nPor otro lado, existe una conexión truncada entre los personajes. El hombre del futuro pretende encontrar a los otros dos cuando uno de ellos ya dibuja su rostro. Y Maquim habla de Sartana como si no supiera su paradero, pero luego obran en conjunto, una confusión que responde a la idea de fragmentos insertados y reconfigurados a la fuerza como la fusión del ritmo del rap con la danza del burro. Al muñón del presente se le empalma lo cronológico pensando así que devolver el orden sería una forma de reducir la hinchazón. Imposible. Porque <strong><em>Branco sai, preto fica </em></strong>delira sobre el retorno de lo amputado, donde aquello que fue desmembrado y adquirió vida propia se resiste a perecer. Para Adirley Queirós, aprender a caminar con esta falta, aprender a moverse y sostener el peso sobre un objeto foráneo es una forma de apropiarse del dolor fantasma y de reordenar los circuitos sensoriales enmarañados.\n\nLa cámara contempla los andares de Sartana y de Marquim y el tiempo destinado en cada traslado. Una escalera es un sin fin de peldaños a sortear que demanda la sumisión del cuerpo a la carencia física. Hay que usar las manos, la otra pierna, e ir despacio. Asimismo, subir al primer piso de la casa es un proceso extenuante, desde bajarse del auto a finalmente apretar el botón del ascensor. La fisonomía se traslada a la imagen y se impregna en el cuadro. En <strong><em>Branco sai, preto fica </em></strong>la mutilación es tanto visual como sonora. A través de comunicaciones radiales, la voz oficial del gobierno recuerda cada tanto su dominio sobre la zona. La voz es amena, afable incluso, cuando recuerda los días pasados sin ningún altercado, en contraposición a la hostilidad de la periferia y el recordatorio de que cada quien debe permanecer donde le toca vivir. La autoridad es un ente impalpable cuya tiranía se recuerda mediante la memoria tan propensa a ser borrada. De la misma manera, el ruido de un láser invisible que se dispara hacia enemigos fuera de campo (también invisibles) evoca un arma de alto calibre y tecnología fuera de este mundo inconcebibles en nuestro presente, pero que están ahí. El desconsuelo del futuro se desfigura en el presente como un miembro más arrancado a la fuerza.\n\nLos escenarios de <strong><em>Branco sai, preto fica </em></strong>abruman. Son desiertos de chapa y ladrillo donde el movimiento de las personas es imperceptible, salvo el tren que recuerda que sí existe un más allá. El desplazamiento de los transportes es siempre hacia adelante, hacia el centro y el rastro que deja el tren a su paso es tan oscuro como las ruinas de un tinglado, porque la modernidad esconde en sus estructuras monumentales la cara negra del crecimiento, eso que debe ser extirpado o al menos mantenido al margen. Tal como en <strong><em>La Jetée</em></strong> las fotografías de París después de la Segunda Guerra Mundial idearon la pesadilla de Chris Marker, la secuencia final de la película describe con una serie de dibujos a lápiz la destrucción de Brasilia. Entre gritos y explosiones, 50 años de progreso se destruyen en 50 segundos. Y no es tanto una pesadilla.','Branco sai, preto fica (2015)','','publish','open','open','','branco-sai-preto-fica-2015','','','2020-10-13 15:34:35','2020-10-13 18:34:35','',0,'http://lapistoladechejov.com/?p=1298',0,'post','',1),(1215,2,'2020-05-31 13:44:29','2020-05-31 17:44:29','<i><span style=\"font-weight: 400;\">Carmen Aumedes Mier. China/España. 2020</span></i>\n\n<span style=\"font-weight: 400;\">Ocean escribe una carta a su hijo quien al casarse partió de la casa de un día para otro. Esta carta lejos de adecuarse al formato lápiz y papel, adopta la forma de un relato visual que narra los pormenores del proceso de conformación con su ausencia, como el diario de una vida que continuó sin que él lo sepa, un mensaje en una botella arrojado al infinito mar. </span>\n\n<b><i>I’m too busy</i></b> <span style=\"font-weight: 400;\">es un álbum de fotografías narrado por una voz en off que describe en formato de una oración similar al pie de una foto aquello que se observa a primera vista y aquello que no. En este sentido, ella señala lo obvio, aquí estoy yo, a lo que añade una impresión disimulada sobre su trabajo, vida social o matrimonio. En la conjunción de ambos elementos, se evoca una triste ironía que deja entrever el hartazgo de la monotonía pero la resignación cansina de conformarse con esa persona que solo la observa mientras se cepilla los dientes. </span>\n\n<span style=\"font-weight: 400;\">Ocean encuentra acercarse a su hijo a través de un tipo de baile relacionado al swing norteamericano, el </span><i><span style=\"font-weight: 400;\">jitterbug</span></i><span style=\"font-weight: 400;\">, que en su interpretación china se caracteriza por un atuendo particular de camisas rojas y adornos singulares como insignias militares o argollas en las gorras. Pero lo exótico y lo extravagante de dicho pasatiempo o mismo de la cultura china solo responde al lugar desde donde lo estamos observando; el fenómeno de la transculturación fomentado en parte por la hiperconectividad y el imperialismo cultural nos ha empapado de influencia norteamericana a tal punto que adoptamos sin resistencia alguna el idioma y sus devariantes como norma, entiéndase el modo de mirar al mundo. ¿Cómo observamos entonces la relación madre e hijo o desde que punto de vista examinamos las relaciones modernas? Preguntas que suscita el cortometraje hacia un público que tal como Ocean se refugia en la excusa de estar ocupada.  </span>\n<h6><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional - Ficción y Documental del VIS Vienna Shorts.</span></h6>\n<span style=\"font-weight: 400;\">Programación completa: </span><a href=\"https://www.viennashorts.com/en\">https://www.viennashorts.com/en</a>','I\'m too busy (2020)','','publish','open','open','','im-too-busy-2020','','','2020-05-31 13:44:33','2020-05-31 17:44:33','',0,'http://lapistoladechejov.com/?p=1215',0,'post','',0),(1092,2,'2020-01-28 06:54:33','2020-01-28 09:54:33','<iframe title=\"BACURAU (trailer HD subtitulado)\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/RZVpW5yC3pM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','97b444307214ac6a09efd360da641da3','','','2020-01-28 06:54:33','2020-01-28 09:54:33','',0,'http://lapistoladechejov.com/2020/01/28/97b444307214ac6a09efd360da641da3/',0,'oembed_cache','',0),(1093,2,'2020-01-28 06:55:13','2020-01-28 09:55:13','Bacurau','Bacurau 3','','inherit','open','closed','','bacurau-3','','','2020-01-28 06:55:28','2020-01-28 09:55:28','',1091,'http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3.jpg',0,'attachment','image/jpeg',0),(1094,2,'2020-01-28 06:55:31','2020-01-28 09:55:31','Bacurau','Bacurau 1','','inherit','open','closed','','bacurau-1','','','2020-01-28 06:55:42','2020-01-28 09:55:42','',1091,'http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-1.jpg',0,'attachment','image/jpeg',0),(1095,2,'2020-01-28 06:57:45','2020-01-28 09:57:45','<h2>En un futuro no tan lejano.</h2>\n<p><span style=\"font-weight: 400;\">El cine de Kleber Mendonça Filho se erige sobre una preocupación palpable por su entorno y las relaciones del ser humano dentro de su hogar, que más allá de ser un espacio físico en el cual se construye la vida privada y pública, es memoria, historia, e identidad, sea este un país, un pueblo, un vecindario, o incluso un departamento. Y es el vínculo que forjan sus personajes con este ambiente donde habitan, y la inevitable mutación de las condiciones del mismo, lo que suscita los conflictos internos y externos. Pero para el director y guionista brasileño estos cambios nunca son gratuitos, pues el desplazamiento de las personas se manifiesta como consecuencia directa del proceso de gentrificación y urbanización que obliga el desalojo violento de las minorías arraigadas a un espacio; bajo la metamorfosis del mundo que prioriza a los fuertes sobre los débiles subyace una fuerte crítica social.</span></p>\n<p><span style=\"font-weight: 400;\">En este sentido, su último film  </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> (2019) está teñido del contexto sociopolítico actual que predica un futuro no tan inverosímil en un tiempo no tan lejano. Ubicado al norte de Brasil lejos de cualquier metrópoli, la población de Bacurau se enfrenta a problemas de supervivencia como el hambre, las enfermedades o el acceso al agua potable, necesidades básicas que son ignoradas por el candidato a intendente de la región pese a la resistencia y a la lucha diaria de sus pocos habitantes. El político, corrupto e insolente, solo desea votantes, y para hacerlo es capaz de mantener a la villa bajo asedio con las rutas clausuradas que impiden el acceso y la salida de cualquier persona. La muerte de la matriarca del pueblo, y la llegada de su sobrina con una valija de remedios, abre un relato que aparenta ser un drama rural de lucha obstinada contra el gobierno descarado que destina alimentos vencidos e inhibidores de carácter en forma de analgésico con la esperanza absurda de lograr la sumisión completa del pueblo. Aparenta, porque una serie de situaciones inexplicables e impredecibles que van sucediendo en Bacurau zarandea cualquier conjetura posible.  </span></p>\n<p><span style=\"font-weight: 400;\">Si en </span><b><i>Aquarius </i></b><span style=\"font-weight: 400;\">(2016) el enfrentamiento estaba dado entre la invasión forzoza de una inmobiliaria megalómana y una mujer que se resistía a abandonar el edificio donde vivió toda su vida, en </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> la súbita desaparición del pueblo en el mapa anticipa una irrupción que alcanza niveles de violencia inimaginables, pues supone prescindir por completo de las familias que viven ahí y que para el político son un disturbio más. La maquinaria que opera detrás de los eventos trágicos carece de un ápice de moralidad, y no deja de atemorizar por lo probable que podría ser la caza deportiva de personas, que no solo se dio en tiempos recientes (la dictadura de Alfredo Stroessner había ordenado la caza de indígenas aché) pero que podría incluso darse hoy en día.</span></p>\n<p><span style=\"font-weight: 400;\">Aquí, los invasores europeos y norteamericanos disponen de los cuerpos tercermundistas al servicio de una industria más, un parque de diversiones, y el gobierno oferta seres humanos como un mero premio. Pero los habitantes de Bacurau se rehúsan a sucumbir, y en la resistencia, las imágenes estilizadas y saturadas de Mendonça derrochan violencia y goce, porque la identificación con el pueblo abusado y menospreciado, víctima de muerte, dolor y sufrimiento, desemboca en una pulsión de venganza y sublevación colectiva al son de bajos sintetizados y drogas alucinógenas.</span></p>\n<p><span style=\"font-weight: 400;\">Basta con mirar la historia y el presente para dudar del aspecto ficticio de </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\">. La situación sociopolítica de Brasil, bajo el mandato de un presidente ultraderechista, siniestro y polémico, que desata una guerra abierta contra los pueblos indígenas del Amazonas, que pisotea sobre los derechos humanos y que esconde en su agenda política un régimen que avala el genocidio y el etnocidio, alimenta el cine denunciatorio de Mendonça, que aquí con un fervor colérico, cargado de ira y miedo, conjuga diversos géneros cinematográficos como el gore y el western para gritar con fuerza. Porque ya no es el espacio el que cambia, sino la eliminación casi sistemática de las personas que no se ajustan al cambio impuesto. Para citar a uno de sus personajes, ¿estará exagerando Mendonça? Y la respuesta, al menos de nuestra parte, es un rotundo no.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=RZVpW5yC3pM\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=RZVpW5yC3pM\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Bacurau (2019)','','inherit','closed','closed','','1091-revision-v1','','','2020-01-28 06:57:45','2020-01-28 09:57:45','',1091,'http://lapistoladechejov.com/2020/01/28/1091-revision-v1/',0,'revision','',0),(1096,2,'2020-01-28 09:20:47','2020-01-28 12:20:47','<h2>En un futuro no tan lejano.</h2>\n<p><span style=\"font-weight: 400;\">El cine de Kleber Mendonça Filho se erige sobre una preocupación palpable por su entorno y las relaciones del ser humano dentro de su hogar, que más allá de ser un espacio físico en el cual se construye la vida privada y pública, es memoria, historia, e identidad, sea este un país, un pueblo, un vecindario, o incluso un departamento. Y es el vínculo que forjan sus personajes con este ambiente donde habitan, y la inevitable mutación de las condiciones del mismo, lo que suscita los conflictos internos y externos. Pero para el director y guionista brasileño estos cambios nunca son gratuitos, pues el desplazamiento de las personas se manifiesta como consecuencia directa del proceso de gentrificación y urbanización que obliga el desalojo violento de las minorías arraigadas a un espacio; bajo la metamorfosis del mundo que prioriza a los fuertes sobre los débiles subyace una fuerte crítica social.</span></p>\n<p><span style=\"font-weight: 400;\">En este sentido, su último film  </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> (2019) está teñido del contexto sociopolítico actual que predica un futuro no tan inverosímil en un tiempo no tan lejano. Ubicado al norte de Brasil lejos de cualquier metrópoli, la población de Bacurau se enfrenta a problemas de supervivencia como el hambre, las enfermedades o el acceso al agua potable, necesidades básicas que son ignoradas por el candidato a intendente de la región pese a la resistencia y a la lucha diaria de sus pocos habitantes. El político, corrupto e insolente, solo desea votantes, y para hacerlo es capaz de mantener a la villa bajo asedio con las rutas clausuradas que impiden el acceso y la salida de cualquier persona. La muerte de la matriarca del pueblo, y la llegada de su nieta con una valija de remedios, abre un relato que aparenta ser un drama rural de lucha obstinada contra el gobierno descarado que destina alimentos vencidos e inhibidores de carácter en forma de analgésico con la esperanza absurda de lograr la sumisión completa del pueblo. Aparenta, porque una serie de situaciones inexplicables e impredecibles que van sucediendo en Bacurau zarandea cualquier conjetura posible.  </span></p>\n<p><span style=\"font-weight: 400;\">Si en </span><b><i>Aquarius </i></b><span style=\"font-weight: 400;\">(2016) el enfrentamiento estaba dado entre la invasión forzoza de una inmobiliaria megalómana y una mujer que se resistía a abandonar el edificio donde vivió toda su vida, en </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> la súbita desaparición del pueblo en el mapa anticipa una irrupción que alcanza niveles de violencia inimaginables, pues supone prescindir por completo de las familias que viven ahí y que para el político son un disturbio más. La maquinaria que opera detrás de los eventos trágicos carece de un ápice de moralidad, y no deja de atemorizar por lo probable que podría ser la caza deportiva de personas, que no solo se dio en tiempos recientes (la dictadura de Alfredo Stroessner había ordenado la caza de indígenas aché) pero que podría incluso darse hoy en día.</span></p>\n<p><span style=\"font-weight: 400;\">Aquí, los invasores europeos y norteamericanos disponen de los cuerpos tercermundistas al servicio de una industria más, un parque de diversiones, y el gobierno oferta seres humanos como un mero premio. Pero los habitantes de Bacurau se rehúsan a sucumbir, y en la resistencia, las imágenes estilizadas y saturadas de Mendonça derrochan violencia y goce, porque la identificación con el pueblo abusado y menospreciado, víctima de muerte, dolor y sufrimiento, desemboca en una pulsión de venganza y sublevación colectiva al son de bajos sintetizados y drogas alucinógenas.</span></p>\n<p><span style=\"font-weight: 400;\">Basta con mirar la historia y el presente para dudar del aspecto ficticio de </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\">. La situación sociopolítica de Brasil, bajo el mandato de un presidente ultraderechista, siniestro y polémico, que desata una guerra abierta contra los pueblos indígenas del Amazonas, que pisotea sobre los derechos humanos y que esconde en su agenda política un régimen que avala el genocidio y el etnocidio, alimenta el cine denunciatorio de Mendonça, que aquí con un fervor colérico, cargado de ira y miedo, conjuga diversos géneros cinematográficos como el gore y el western para gritar con fuerza. Porque ya no es el espacio el que cambia, sino la eliminación casi sistemática de las personas que no se ajustan al cambio impuesto. Para citar a uno de sus personajes, ¿estará exagerando Mendonça? Y la respuesta, al menos de nuestra parte, es un rotundo no.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=RZVpW5yC3pM\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=RZVpW5yC3pM\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Bacurau (2019)','','inherit','closed','closed','','1091-revision-v1','','','2020-01-28 09:20:47','2020-01-28 12:20:47','',1091,'http://lapistoladechejov.com/2020/01/28/1091-revision-v1/',0,'revision','',0),(1101,2,'2020-02-01 09:46:13','2020-02-01 12:46:13','<iframe title=\"The Souvenir Trailer Oficial Subtitulado Español (2019)\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/K8gkdmrR2MU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','a27add5b6fdb283584e0dce82067cdc3','','','2020-02-01 09:46:13','2020-02-01 12:46:13','',0,'http://lapistoladechejov.com/2020/02/01/a27add5b6fdb283584e0dce82067cdc3/',0,'oembed_cache','',0),(1102,2,'2020-02-01 09:46:53','2020-02-01 12:46:53','<h2>Destellos de nostalgia y melancolía</h2>\n<p><span style=\"font-weight: 400;\">Con unas fotografías en blanco y negro de una decaída ciudad sumida en la pobreza, Julie narra la idea de un proyecto de largometraje ficción que indaga una relación abrumadora entre madre e hijo, y el miedo agobiante que él siente ante la sola posibilidad de perderla. Al final, cuenta Julie, la madre muere, porque el amor infinito, casi obsesivo no pudo contra la muerte. En estas primeras imágenes y en estas primeras líneas de diálogo se esconde el eje argumental de </span><b><i>The Souvenir </i></b><span style=\"font-weight: 400;\">(2019), una película íntima que relata los altibajos de la relación turbulenta entre una estudiante de cine y un hombre misterioso.</span></p>\n<p><span style=\"font-weight: 400;\">Julie conoce a Anthony en una fiesta en su departamento. Su carácter enigmático, opaco, se retrata en la historia; no en vano su presencia se resguarda del encuadre. Cuando le vemos por primera vez, es apenas una sombra que entra y sale del cuadro y las veces siguientes, se nos vela su figura mediante espejos o posiciones de espalda. Recién durante la primera cita en un cafetería ostentosa, y sólo cuando él pide la cuenta, es que su rostro se dibuja con claridad ante la cámara. Es innegable que su personalidad, entre erudita y arrogante (y un tanto sensual) suscita interés, pero aquella pesadumbre que lo acosa tarde o temprano será visible, ya sea en un gesto tan imperceptible como rascarse el brazo o pedir prestado dinero. </span></p>\n<p><span style=\"font-weight: 400;\">Julie, por su parte, se ve enfrascada entre sostener esta relación conflictiva y encontrar su voz personal como directora de cine. En medio de conversaciones sobre Rivette y clases de montaje, la presencia de Anthony le obnubila la creatividad, pero a la vez agita cuestionamientos sobre sus privilegios de clase o su misma motivación para escribir y dirigir. Y aquí la complejidad de su relación, porque también la ausencia esporádica e incierta de Anthony, a veces por varios días, sumado a sus vagas andanzas laborales, atormenta a Julie de manera visible ante la mirada impotente de su madre y compañeros de facultad. </span></p>\n<p><span style=\"font-weight: 400;\">Ambientada en los años ‘80, Joanna Hogg evoca los recuerdos de sus años como estudiante de cine a través de imágenes brumosas que mezcla material de archivo con imágenes granuladas que remiten a las texturas nostálgicas del fílmico. En ocasiones, Julie observa fotografías de la ciudad, o edita en una moviola, como si la directora misma estuviera resguardándose en los ojos de su personaje para presenciar lo que en parte fue su historia personal. El film tiene un cierto aire de levedad no por lo que narra, sino por la matiz y la melancolía que configura la imagen y la iluminación suave y blanquecina que se filtra por las ventanas de donde habita la pareja, casi como un sueño donde el despertar recuerda la nitidez de la realidad y del presente. </span></p>\n<p><b><i>The Souvenir </i></b><span style=\"font-weight: 400;\">cautiva con los destellos fragmentados de la relación que se encadenan cronológicamente pero que no se adscriben a una lógica temporal precisa, y con una edición que ignora la continuidad; existen momentos dilatados que reposan la mirada sobre desayunos y almuerzos, o conversaciones distantes en largos pasillos, mientras otros sucesos que tienen lugar durante un lapso de tiempo indefinido, como una recaída y la posterior recuperación, se resuelven fugazmente en dos o tres escenas, pues para Hogg, la reminiscencia del pasado se encarga de realizar su propia edición. </span></p>\n<p><span style=\"font-weight: 400;\">Los espejos, que delimitan el punto de vista del espectador a la vez que sugieren cierto desprendimiento entre el reflejo y la imagen del reflejo, enfatizan la idea de contemplación reflexiva, quizás un intento por desentrañar esta relación particular y sufrida porque queda claro que lo que interesa a la directora no es explicar el por qué del actuar de sus personajes sino transitar las complicaciones del desamor.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=K8gkdmrR2MU\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=K8gkdmrR2MU\n</div></figure>\n<!-- /wp:core-embed/youtube -->','The Souvenir (2019)','','inherit','closed','closed','','1099-revision-v1','','','2020-02-01 09:46:53','2020-02-01 12:46:53','',1099,'http://lapistoladechejov.com/2020/02/01/1099-revision-v1/',0,'revision','',0),(1098,2,'2020-01-28 09:23:12','2020-01-28 12:23:12','<h2>En un futuro no tan lejano.</h2>\n<p><span style=\"font-weight: 400;\">El cine de Kleber Mendonça Filho se erige sobre una preocupación palpable por su entorno y las relaciones del ser humano dentro de su hogar, que más allá de ser un espacio físico en el cual se construye la vida privada y pública, es memoria, historia, e identidad, sea este un país, un pueblo, un vecindario, o incluso un departamento. Y es el vínculo que forjan sus personajes con este ambiente donde habitan, y la inevitable mutación de las condiciones del mismo, lo que suscita los conflictos internos y externos. Pero para el director y guionista brasileño estos cambios nunca son gratuitos, pues el desplazamiento de las personas se manifiesta como consecuencia directa del proceso de gentrificación y urbanización que obliga el desalojo violento de las minorías arraigadas a un espacio; bajo la metamorfosis del mundo que prioriza a los fuertes sobre los débiles subyace una fuerte crítica social.</span></p>\n<p><span style=\"font-weight: 400;\">En este sentido, su último film  </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> (2019) está teñido del contexto sociopolítico actual que predica un futuro no tan inverosímil en un tiempo no tan lejano. Ubicado al norte de Brasil lejos de cualquier metrópoli, la población de Bacurau se enfrenta a problemas de supervivencia como el hambre, las enfermedades o el acceso al agua potable, necesidades básicas que son ignoradas por el candidato a intendente de la región pese a la resistencia y a la lucha diaria de sus pocos habitantes. El político, corrupto e insolente, solo desea votantes, y para hacerlo es capaz de mantener a la villa bajo asedio con las rutas clausuradas que impiden el acceso y la salida de cualquier persona. La muerte de la matriarca del pueblo, y la llegada de su nieta con una valija de remedios, abre un relato que aparenta ser un drama rural de lucha obstinada contra el gobierno descarado que destina alimentos vencidos e inhibidores de carácter en forma de analgésico con la esperanza absurda de lograr la sumisión completa del pueblo. Aparenta, porque una serie de situaciones inexplicables e impredecibles que van sucediendo en Bacurau zarandea cualquier conjetura posible.  </span></p>\n<p><span style=\"font-weight: 400;\">Si en </span><b><i>Aquarius </i></b><span style=\"font-weight: 400;\">(2016) el enfrentamiento estaba dado entre la invasión forzoza de una inmobiliaria megalómana y una mujer que se resistía a abandonar el edificio donde vivió toda su vida, en </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> la súbita desaparición del pueblo en el mapa anticipa una irrupción que alcanza niveles de violencia inimaginables, pues supone prescindir por completo de las familias que viven ahí y que para el político son un disturbio más. La maquinaria que opera detrás de los eventos trágicos carece de un ápice de moralidad, y no deja de atemorizar por lo probable que podría ser la caza deportiva de personas, que no solo se dio en tiempos recientes (la dictadura de Alfredo Stroessner había permitido la caza de indígenas aché) pero que podría incluso darse hoy en día.</span></p>\n<p><span style=\"font-weight: 400;\">Aquí, los invasores europeos y norteamericanos disponen de los cuerpos tercermundistas al servicio de una industria más, un parque de diversiones, y el gobierno oferta seres humanos como un mero premio. Pero los habitantes de Bacurau se rehúsan a sucumbir, y en la resistencia, las imágenes estilizadas y saturadas de Mendonça derrochan violencia y goce, porque la identificación con el pueblo abusado y menospreciado, víctima de muerte, dolor y sufrimiento, desemboca en una pulsión de venganza y sublevación colectiva al son de bajos sintetizados y drogas alucinógenas.</span></p>\n<p><span style=\"font-weight: 400;\">Basta con mirar la historia y el presente para dudar del aspecto ficticio de </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\">. La situación sociopolítica de Brasil, bajo el mandato de un presidente ultraderechista, siniestro y polémico, que desata una guerra abierta contra los pueblos indígenas del Amazonas, que pisotea sobre los derechos humanos y que esconde en su agenda política un régimen que avala el genocidio y el etnocidio, alimenta el cine denunciatorio de Mendonça, que aquí con un fervor colérico, cargado de ira y miedo, conjuga diversos géneros cinematográficos como el gore y el western para gritar con fuerza. Porque ya no es el espacio el que cambia, sino la eliminación casi sistemática de las personas que no se ajustan al cambio impuesto. Para citar a uno de sus personajes, ¿estará exagerando Mendonça? Y la respuesta, al menos de nuestra parte, es un rotundo no.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=RZVpW5yC3pM\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=RZVpW5yC3pM\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Bacurau (2019)','','inherit','closed','closed','','1091-revision-v1','','','2020-01-28 09:23:12','2020-01-28 12:23:12','',1091,'http://lapistoladechejov.com/2020/01/28/1091-revision-v1/',0,'revision','',0),(1104,2,'2020-02-17 18:34:39','2020-02-17 21:34:39','','la odisea','','inherit','open','closed','','la-odisea','','','2020-02-17 18:34:39','2020-02-17 21:34:39','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea.jpg',0,'attachment','image/jpeg',0),(1105,2,'2020-02-17 18:34:42','2020-02-17 21:34:42','','jojo rabbit','','inherit','open','closed','','jojo-rabbit','','','2020-02-17 18:34:42','2020-02-17 21:34:42','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit.jpg',0,'attachment','image/jpeg',0),(1106,2,'2020-02-17 18:34:45','2020-02-17 21:34:45','','atlantique','','inherit','open','closed','','atlantique','','','2020-02-17 18:34:45','2020-02-17 21:34:45','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique.jpg',0,'attachment','image/jpeg',0),(1173,2,'2020-03-31 14:36:51','2020-03-31 18:36:51','Infierno grande','infierno 3','','inherit','open','closed','','infierno-3','','','2020-03-31 14:37:04','2020-03-31 18:37:04','',1169,'http://lapistoladechejov.com/wp-content/uploads/2020/03/infierno-3.jpg',0,'attachment','image/jpeg',0),(1292,2,'2020-07-28 12:08:12','2020-07-28 16:08:12','<h2>Placeres reflejados</h2>\nLa galería de un centro comercial es el escenario idóneo para un musical moderno donde la realidad no tiene cabida y el amor que se exhibe en las vidrieras de las tiendas es tan fluctuante como las tendencias del mercado y de la moda. Entre besos apasionados, una joven peluquera declara su amor a un joven trajeado. Al romper el beso, ella suspira y gira el rostro hacia otro joven. Ellos se besan, ella le dice que le ama y luego se retira, dejando a ambos hombres embobados en la escalera. Esta sensación de atontamiento persiste a lo largo de <strong><em>Golden Eighties</em></strong>, una fantasía de colores estridentes y panes de plástico, donde cada elemento de la puesta en escena remarca el carácter artificial de la película. Y lo hace con goce y con disfrute. El resultado, una fascinación momentánea y el viaje a un mundo donde los enojos son pasajeros y los desamores transitorios.\n\nEl espacio interior es un escenario teatral que termina en los peldaños de la escalera que conduce al exterior, al mundo real. Afuera, el tiempo transcurre como siempre, pero en este mundo idílico existen otras reglas, la soltura y el descaro. Las dos tiendas, la peluquería de Lili y la boutique de Jeanne, son dos espacios oponentes que se articulan mediante la cafetería. En la barra, los chismes se sirven con la misma facilidad que un vaso de coca cola. Robert, el hijo de la familia propietaria de la tienda de ropas, es el objeto de deseo de las chicas de enfrente, en especial de Mado. “Quizás sea muy bueno para nosotras”, canta una de las chicas, muy alto, muy adinerado, muy elegante. De estas tres afirmaciones, quizás la segunda sea más o menos cierta porque Robert es nada más que un niño grande, un bebé encaprichado que hace y deshace compromisos a su antojo. Pero Mado no es la única que adolece el desamor. La dueña de la cafetería vive pendiente de las cartas de su pareja que se encuentra en otro país, el Sr. Jean es incapaz de olvidarse de Lili, y la presencia casual de un norteamericano despierta recuerdos enterrados en Jeanne.\n\nEl romance se propaga en cada línea de diálogo y en cada anécdota narrada, una carta de amor que se lee una y otra vez. Aquí, cada uno es partícipe de la historia del otro y la vive como si estuviera viviendo en una película, un poco como nosotros con este musical. En <strong><em>Golden Eighties </em></strong>la privacidad no existe. Los paños de vidrio de las tiendas que separan un lugar del otro permiten vislumbrar cada rincón de la galería; por más que la cámara se sitúe en la boutique, el movimiento de la peluquería es igualmente visible y viceversa. En este decorado de transparencias y de ambientes translúcidos, solo las cortinas pueden dar una intimidad aparente, como los telones de un teatro que se abren y se cierran y que fragmentan el espacio en micro cápsulas narrativas. Privacidad disimulada, porque nadie parece escuchar las conversaciones del otro a través de las telas, como si el tejido estuviera dotado de una capacidad aislante. El problema es cuando se deja entrever los pies entre ese espacio libre que queda entre el piso y la cortina, porque ocultarse no es tarea fácil.\n\nEn <strong><em>Golden Eighties </em></strong>el amor es ilógico como las coreografías caricaturescas y ajetreadas que marcan el movimiento de los personajes en escena, y la jornada laboral es tan efímera como un aguacero que al parecer moja a los transeúntes. Las chicas de la peluquería nada más fingen trabajar, spray aquí, spray allá, toalla aquí, toalla allá, mientras que los jóvenes cizañeros disimulan no estar prestando atención a lo que sucede pero ingresan al cuadro para arrojar su apreciación sobre los hechos. El ingreso absurdo de una horda de extras marca el paso del tiempo (¿será la hora del almuerzo?); tan pronto como Robert se compromete con Mado, el día ha llegado a su fin. Y los clientes son figuras anónimas olvidadas que reclaman atención sin éxito alguno y que existen como aderezos visuales salpicados que entran y salen del cuadro como la utilería de una obra.\n\nLos números musicales que se dirigen directamente a cámara demandan una compenetración espontánea con nosotros, sea una confesión donde el diálogo se establece entre ellos y nosotros, o la complicidad de una melodía pegajosa que nos anticipa un desenlace desastroso. En este juego de mirar y ser mirado, de descubrir en la profundidad de campo el vuelo de un cepillo o un saludo, el movimiento es incesante, tanto así que al terminar la película pareciera que fuimos absorbidos por el trajín de la galería. La cámara se acerca y se aleja, declara y confiesa. Nos envuelve en la turba de personas que separan a los amantes, y desnuda en sus superficies transparentes que nos devuelven infinitos reflejos. Espacio, personaje y movimiento se entremezclan en una comedia burlesca donde las cosas son más sencillas: siempre y cuando devolvamos los regalos de casamiento, cancelar una boda un día antes no tiene mayores implicancias.\n\nEn <strong><em>Golden Eighties</em></strong> Chantal Akerman se desplaza libremente entre los rincones que ofrece el comercio y los espacios intermedios entre una tienda y otra, así como manipula a su antojo las líricas osadas y los guiños al musical. Su mirada despreocupada encuentra así una sonrisa auténtica que al fin y al cabo es más real que cualquier artilugio de la representación o cualquier casualidad mal catalogada como “error” por los defensores del relato invisible. Porque <strong><em>Golden Eighties</em></strong> es por sobre todas las cosas, un escaparate del amor y del romance donde es posible encontrar esto, un gesto de placer absoluto reflejado por quien nos mira. Hola, Chantal.\n\n<img class=\"aligncenter size-full wp-image-1293\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/st.png\" alt=\"Golden Eighties\" width=\"1780\" height=\"1080\" />','Golden Eighties (1986)','','publish','open','open','','golden-eighties','','','2020-10-13 15:37:29','2020-10-13 18:37:29','',0,'http://lapistoladechejov.com/?p=1292',0,'post','',0),(1169,2,'2020-03-31 14:37:43','2020-03-31 18:37:43','<h2>El infierno cotidiano.</h2>\n<p><span style=\"font-weight: 400;\">En ocasiones, quizás más de lo que esperamos y menos de lo que somos consciente, el cine nos devuelve imágenes saturadas de violencia de género que reflejan la sociedad machista donde nos toca vivir; escenas injustificadas de abuso, de sumisión, o mismo de dependencia de sus personajes femeninos hacia sus pares masculinos, han configurado el lenguaje de un cine hegemónico desinteresado en cuestionar siquiera la dominación que ejerce el patriarcado sobre la mujer, ni mucho menos descomponer las aristas de una problemática global que desemboca en cifras alarmantes de feminicidio. Por suerte, existe lo otro. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Infierno grande</i></b><span style=\"font-weight: 400;\"> de Alberto Romero, María es una profesora de colegio que vive entre cuatro paredes una situación infernal: es víctima de violencia física y verbal por parte de Lionel, su marido, un candidato político que le dicta cada tarea que debe realizar y cómo las debe ejecutar, con obediencia y respeto. Para empeorar las cosas, María está a punto de parir. El matrimonio vive en un pequeño pueblo de La Pampa, donde la obviedad del famoso refrán queda corta, porque afuera también es un infierno árido de vastas extensiones de tierra sin nada más que sol y polvo. Pero tras un pequeño incidente, María pone en marcha un plan de escape y se enfrenta a la hostilidad del desierto para huir de su violenta pareja. Coge un rifle de caza, un pollo congelado y un bolso, y se sube a su camioneta destartalada sin saber el camino pero con el destino bien claro. </span></p>\n<p><span style=\"font-weight: 400;\">La voz en off del hijo de María narra a modo de fábula la historia de cuándo y cómo él nació, como si la película entera fuera un flashback, y la cacería que se dispara un par de días antes de su nacimiento, tan solo un evento del pasado. Esta voz que reconforta, y que podría anticipar el final, se afronta a la crueldad del entorno que ella debe encarar para sobrevivir, y a la ansiedad de la travesía incierta.</span></p>\n<p><span style=\"font-weight: 400;\">Mientras ella intenta encontrar Naicó, el pueblo fantasma de donde provenían sus padres, transita rutas vacías y paraderos en ruinas. Pero el enemigo de María no solo es el clima ni la devastación sobrecogedora que la acompaña, sino también Lionel, un hombre corpulento pero minúsculo en la inmensidad de la provincia que sigue sus rastros sin detenerse alimentado por la ira que solo va en aumento. Y ella, es la protagonista de este western atípico, con tintes fantásticos y apocalípticos, donde los paisajes de la llanura pampeana le inundan de preguntas y le recuerdan pequeños fragmentos de su vida subyugada.</span></p>\n<p><span style=\"font-weight: 400;\">La imagen de su panza y su movilidad limitada le atribuye una carga de fragilidad adicional, por lo que cada parada supone para María, un riesgo aún mayor. Por la carretera, ella se topa con una variedad de personajes curtidos por la desolación de la región, cada uno con una actitud impredecible, desde la resignación al ingenio. A través del horizonte despoblado, </span><b><i>Infierno grande </i></b><span style=\"font-weight: 400;\">se ocupa además de ilustrar un escenario pintado por el abandono; si en tiempos anteriores el tren era sinónimo de progreso y movimiento, aquí solo es un vestigio de una falsa promesa donde sus habitantes conviven como pueden con la soledad del vacío.</span></p>\n<p><span style=\"font-weight: 400;\">Más allá del posible desenlace sugerido, y las interpretaciones metafóricas que podrían entreverse, </span><b><i>Infierno grande </i></b><span style=\"font-weight: 400;\">es el relato de una mujer que persigue su libertad; cuando la pesadilla es más grande que La Pampa, el viaje físico es un complemento al viaje emocional de María. Para Romero, el infierno puede ser grande, pero no insuperable. </span></p>\n<p><span style=\"font-weight: 400;\">Ver ahora:</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/279950309\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-18-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-18-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/279950309\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Infierno grande (2019)','','publish','open','open','','infierno-grande-2019','','\nhttps://vimeo.com/279950309','2020-03-31 14:37:46','2020-03-31 18:37:46','',0,'http://lapistoladechejov.com/?p=1169',0,'post','',0),(1170,2,'2020-03-31 14:31:12','2020-03-31 18:31:12','Infierno grande','infierno 2','','inherit','open','closed','','infierno-2','','','2020-03-31 14:31:28','2020-03-31 18:31:28','',1169,'http://lapistoladechejov.com/wp-content/uploads/2020/03/infierno-2.jpg',0,'attachment','image/jpeg',0),(1108,2,'2020-02-17 18:36:42','2020-02-17 21:36:42','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2020-02-17 18:36:42','2020-02-17 21:36:42','',812,'http://lapistoladechejov.com/2020/02/17/812-revision-v1/',0,'revision','',0),(1185,2,'2020-04-08 16:17:07','2020-04-08 20:17:07','<iframe title=\"VIEJO CALAVERA / DARK SKULL\" src=\"https://player.vimeo.com/video/162318171?dnt=1&app_id=122963\" width=\"1200\" height=\"675\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen></iframe>','','','publish','closed','closed','','2c3a0dda4f319486e6d571e47da09711','','','2020-04-08 16:17:07','2020-04-08 20:17:07','',0,'http://lapistoladechejov.com/2020/04/08/2c3a0dda4f319486e6d571e47da09711/',0,'oembed_cache','',0),(1186,2,'2020-04-08 16:18:02','2020-04-08 20:18:02','Viejo calavera','viejo calavera','','inherit','open','closed','','viejo-calavera','','','2020-04-08 16:18:19','2020-04-08 20:18:19','',1184,'http://lapistoladechejov.com/wp-content/uploads/2020/04/viejo-calavera.jpg',0,'attachment','image/jpeg',0),(1187,2,'2020-04-08 16:20:41','2020-04-08 20:20:41','<h2>Una linterna en los sinfines de la mina.</h2>\n<p><span style=\"font-weight: 400;\">Al final de un pasillo oscuro, donde no se ve más que un pequeño fragmento de la calle, un joven escapa de sus persecutores y se refugia en un bar. Las luces de neón salpican sobre su cuerpo, pero el amparo del anonimato será fugaz pues también tendrá que salir corriendo de ahí. Este es Elder, un chico absorbido por la noche y el alcohol, quien huye incapaz de encontrar consuelo ni siquiera en los lugares de cobijo momentáneo. Pero cuando muere su padre, Elder se muda a vivir con su abuela en un poblado desolado y queda a cargo de su padrino, un minero de la zona. </span></p>\n<p><b><i>Viejo Calavera,</i></b><span style=\"font-weight: 400;\"> opera prima del director boliviano Kiro Russo, se sumerge en la oscuridad absoluta de la mina de Huanuni, con una fotografía que nos inunda de negro y solo alumbra las siluetas de sus personajes con la luz de la linterna de los cascos para narrar el viaje de Elder en los sinfines de las cavernas mineras. Esta decisión estética, dada por el realismo de las características físicas y ópticas que supone estar a varios metros bajo el suelo, obliga a uno a entornar los ojos, a acostumbrarse a una visión renegrida. Pero más que sofocar, la puesta en escena ilustra en la estilización de su fotografía cuidada, una sensación de veneración y reverencia hacia aquello que filma, porque reconoce fuera del cine la existencia real de la problemática de esta clase social obrera desatendida, expuesta a los peligros diarios del oficio y a las duras condiciones de trabajo que implican una condena anticipada.</span></p>\n<p><span style=\"font-weight: 400;\">Dentro de los túneles, la mirada de Russo transita entre la búsqueda de consuelo en los laberintos de la mina y las dinámicas de conflicto entre los mineros. La relación de Elder con su familia es incierta y el porqué del actuar del padrino es confuso, ya que asume como mártir las consecuencias de los constantes conflictos provocados por su ahijado. Pero no es necesario comprenderlo todo para percibir el dolor del duelo y las emociones suscitadas tras la pérdida del padre de Elder. Se insinúan ciertos roces, que esbozan conjeturas posibles sobre el accidente de este último, y se alude al hartazgo de los demás hacia Elder o la impaciencia suya hacia los que le rodean, con el mismo valor que ocupa en la trama el espíritu de lucha y revolución en la mina, lo que añade una dimensión insondable a sus personajes y al contexto de explotación laboral donde se mueven. </span></p>\n<p><span style=\"font-weight: 400;\">Tanto fuera como adentro es de noche; hasta el alba está eclipsado por el sol que nunca sale, y cuando lo hace es para calentar los rostros de los mineros que disfrutan la paz de un viaje merecido. Entre el sudor y las rocas frías, el ocio y el descanso, la imagen de Russo cautiva y embellece con impresiones sobre el tiempo y el luto. Sus planos generales se detienen sobre el andar de los mineros al fondo de la caverna, donde el halo luminoso se va alejando sin prisa alguna, o en los lentos paneos y travellings que revelan casi de paso conversaciones cotidianas dentro y fuera de la mina. De la misma manera, la maquinaria pesada ocupa una secuencia predominante editada como un homenaje al cine soviético de las primeras décadas del siglo XX, donde el traqueteo del hierro susurra las voces de un cine boliviano comprometido con las problemáticas propias de su país. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Viejo Calavera</i></b> <span style=\"font-weight: 400;\">se sugiere más de lo sus personajes pueden decir en palabras, porque en el silencio y en la estética de sus imágenes inmersivas se haya la poética fílmica de un director tan inmiscuido en el mundo que retrata que iluminar las minas para que la cámara lo capte es echar luz sobre la historia política de Bolivia. </span></p>\n<p><span style=\"font-weight: 400;\">Ver ahora:</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/162318171\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/162318171\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Viejo Calavera (2016)','','inherit','closed','closed','','1184-revision-v1','','','2020-04-08 16:20:41','2020-04-08 20:20:41','',1184,'http://lapistoladechejov.com/2020/04/08/1184-revision-v1/',0,'revision','',0),(1175,2,'2020-04-01 09:48:06','2020-04-01 13:48:06','','first love','','inherit','open','closed','','first-love','','','2020-04-01 09:48:06','2020-04-01 13:48:06','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love.jpg',0,'attachment','image/jpeg',0),(1176,2,'2020-04-01 09:49:52','2020-04-01 13:49:52','','hamaca paraguay','','inherit','open','closed','','hamaca-paraguay','','','2020-04-01 09:49:52','2020-04-01 13:49:52','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay.jpg',0,'attachment','image/jpeg',0),(1177,2,'2020-04-01 09:50:34','2020-04-01 13:50:34','','serge daney','','inherit','open','closed','','serge-daney','','','2020-04-01 09:50:34','2020-04-01 13:50:34','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney.jpg',0,'attachment','image/jpeg',0),(1178,2,'2020-04-01 09:51:10','2020-04-01 13:51:10','','el lago','','inherit','open','closed','','el-lago','','','2020-04-01 09:51:10','2020-04-01 13:51:10','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago.jpg',0,'attachment','image/jpeg',0),(1179,2,'2020-04-01 09:52:22','2020-04-01 13:52:22','','vida oculta','','inherit','open','closed','','vida-oculta','','','2020-04-01 09:52:22','2020-04-01 13:52:22','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta.jpg',0,'attachment','image/jpeg',0),(1131,2,'2020-02-18 18:28:36','2020-02-18 21:28:36','','LA PISTOLA logos web-01','','inherit','open','closed','','la-pistola-logos-web-01','','','2020-02-18 18:28:36','2020-02-18 21:28:36','',0,'http://lapistoladechejov.com/wp-content/uploads/2020/02/LA-PISTOLA-logos-web-01.png',0,'attachment','image/png',0),(1132,2,'2020-02-18 18:28:38','2020-02-18 21:28:38','','LA PISTOLA logos web-02','','inherit','open','closed','','la-pistola-logos-web-02','','','2020-02-18 18:28:38','2020-02-18 21:28:38','',0,'http://lapistoladechejov.com/wp-content/uploads/2020/02/LA-PISTOLA-logos-web-02.png',0,'attachment','image/png',0),(1133,2,'2020-02-18 18:28:41','2020-02-18 21:28:41','','LA PISTOLA logos web-03','','inherit','open','closed','','la-pistola-logos-web-03','','','2020-02-18 18:28:41','2020-02-18 21:28:41','',0,'http://lapistoladechejov.com/wp-content/uploads/2020/02/LA-PISTOLA-logos-web-03.png',0,'attachment','image/png',0),(1164,2,'2020-03-10 13:33:43','0000-00-00 00:00:00','<h2>Horror austero.</h2>\n<p><span style=\"font-weight: 400;\">En un país que acarrea aún con los vestigios de la sociedad del silencio, cimentada por la dictadura opresiva de Alfredo Stroessner (entre otras cosas), voces que urgen hablar sobre la historia desatendida de un pueblo evidencian una desesperación por </span><span style=\"font-weight: 400;\">instaurar un</span><span style=\"font-weight: 400;\">a memoria colectiva, no sólo para comprender nuestro presente, sino vaticinar en cierta manera el devenir. Es así que las manifestaciones artísticas se ven impregnadas de impávidos gritos que conforman un registro testimonial de estos relatos desconocidos, como una voluntad de conservar lo intangible.</span></p>\n<p><b><i>Matar a un muerto </i></b><span style=\"font-weight: 400;\">recurre a la austeridad para ilustrar una maquinaria de opresión totalitaria que estaba ocurriendo a gran escala en toda latinoamérica; mientras el mundial del fútbol del ‘78 desviaba la atención hacia la trivialidad del entretenimiento, dos hombres eran encargados de enterrar los cuerpos de las víctimas de la dictadura, aquellos que pasarían a conformar la larga lista de los desaparecidos. Situar el relato en un lugar tan desolado sin nada más que dos personajes en las cercanías de la orilla implica encontrar en la belleza del bosque tupido la sombra del poder absoluto que todo lo ve y todo lo sabe, de la desconfianza suscitada hacia tu propio vecino y del pavor a caer en manos de la Técnica solo por encontrarte en el lugar equivocado en el momento equivocado.</span></p>\n<p><span style=\"font-weight: 400;\">El horror del periodo dictatorial paraguayo adopta aquí la forma de cuerpos anónimos con los cuales los sepultureros tienen una extraña relación pues pueden succionar el jugo de un pomelo mientras las moscas frenéticas cubren los bultos, o contemplar un seno en plena descomposición, pero ejecutar a un “paquete” que respira resulta imposible. El hombre es capaz de cometer actos atroces, como un engranaje más dentro de un sistema opresor encargado de despojarlos de su capacidad de reflexión. Esto ya nos ha enseñado la obra de Hannah Arendt y su análisis exhaustivo sobre la historia, pero es en la ausencia de este mal mayor donde yace una sensación de extrañeza hacia los personajes de la película. Es incierto determinar el porqué de su presencia en Kokue 5, la extraña relación de poder de uno sobre el otro, y, lo más importante, aquello que está en riesgo si desobedecen las órdenes emitidas por radio; aquellos mecanismos eficaces que tan bien aprendió a dominar la fuerza policiaca se encuentran en un fuera de cuadro remoto que por su lejanía no asusta, tan quimérico y superficial como la leyenda de un perro sediento de sangre. </span></p>\n<p><span style=\"font-weight: 400;\">Pero el miedo no requiere de grandilocuentes artilugios, basta con la emisión radial que alude al famoso programa “La Voz del coloradismo” para desenmascarar las políticas de propaganda y desinformación durante el siniestro periodo donde hoy es sabido que a diario se cometían violaciones a los derechos humanos. En este sentido, un título sobreimpreso ya constituye una obviedad cuando el horror de lo invisible debería inmiscuirse y reflejarse en la piel curtida de sus personajes y sus rostros abatidos por la macabra labor que se les encomienda. El ingenio del nombre que implica cometer un acto imposible se traduce en merodeos truncados, carentes de introspección hasta el momento climático donde el azar entra en juego más que un punto de inflexión narrativa. </span></p>\n<p><span style=\"font-weight: 400;\">A través de sus imágenes, el cine confronta al espectador con la idea de una realidad preconcebida que invita a vislumbrar una interpretación del mundo, y si al cine histórico nos referimos, el acercamiento podría ser más directo. No obstante, la mera exposición carece de fervor. </span><b><i>Matar a un muerto</i></b><span style=\"font-weight: 400;\"> es correcta en lo demarcativo que podría resultar este adjetivo en cuanto se trate a una película que aborda semejante temática; palpar la atrocidad de la dictadura teniendo en consideración los vestigios culturales que aún acarreamos reclama una dirección arriesgada, intrépida si se quiere, que incomode y recuerde que los huesos de sus víctimas aún subyacen en tierras desconocidas, así como aquellas heridas emocionales que se hallan bajo la coraza de la idiosincrasia paraguaya, y que conserva en su ignorancia a esta sociedad intolerante.  </span></p>\n<p><span style=\"font-weight: 400;\">Ver tráiler:</span></p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=byTJimHJI0Y\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=byTJimHJI0Y\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Matar a un muerto (2020)','','draft','open','open','','','','','2020-03-10 13:33:43','2020-03-10 16:33:43','',0,'http://lapistoladechejov.com/?p=1164',0,'post','',0),(1135,2,'2020-02-19 12:19:54','2020-02-19 15:19:54','<h2>Olor a barro y muerte.</h2>\n<p><b><i>1917</i></b><span style=\"font-weight: 400;\"> se ambienta en plena Primera Guerra Mundial para contar una historia bien sencilla en cuanto a la trama: dos soldados británicos deben cruzar territorio enemigo para entregar un mensaje que evitaría la masacre de un batallón de soldados. Pero la misión no es nada fácil, porque además de ser una carrera contra el tiempo (deben llegar antes del amanecer), supone abandonar las trincheras y cruzar sin protección alguna un pueblo ocupado. La ejecución exitosa de la misión es tan remota que ni el propio general que ordena dicho cometido es tan crédulo, y así, como una bengala desesperada en el aire, ambos soldados emprenden la travesía. </span></p>\n<p><span style=\"font-weight: 400;\">André Bazin sostenía que no era un detalle menor el modo en que un suceso sea narrado, ya sea en fragmentos o planos articulados mediante el montaje, o representado como una unidad continua, motivo por el cual hablar de </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> implica inevitablemente referirnos al recurso narrativo predominante de la película. El film está dividido en dos grandes bloques que se corresponden a dos secuencias largas: una de día, que inicia con los dos soldados descansando bajo un árbol, y una secuencia nocturna que culmina con el amanecer sobre el campo de batalla. Ambas secuencias, sin cortes aparentes, sostienen la integridad de la continuidad del espacio y del tiempo, a la vez que la cámara aprovecha las discontinuidades que su movimiento lo permite, como variaciones en su posición, en los encuadres y reencuadres, y la constante circulación de personajes y elementos que ingresan y salen del cuadro. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>1917, </i></b><span style=\"font-weight: 400;\">la utilización del plano secuencia como un modo de enunciación cinematográfico provoca dos efectos viscerales que colocan al espectador en medio del barro y del olor a muerte. Por un lado, el tiempo del relato o el tiempo narrativo se corresponde con el tiempo que vive el espectador, por lo que la angustia del tiempo y la desesperación se siente segundo a segundo. Los minutos que transcurren en la historia son los minutos que los personajes tienen para llegar a destino. Por otra parte, sumergir la cámara en los lugares más claustrofóbicos de la trinchera permite una aproximación al espacio ya que la secuencia continua envuelve al espectador en el peligro de la guerra misma; entre cuerpos mutilados, aviones derribados y disparos incesantes, la cámara se convierte en nuestros ojos y somos un soldado más que escolta a los personajes. </span></p>\n<p><span style=\"font-weight: 400;\">Por el contrario, y en detrimento del efecto inmersivo que se logra a nivel visual, la banda sonora excesiva y majestuosa invade la sensación casi realista de la narración a tal punto que la obstinación por realzar las emociones mediante la música se traduce en una redundancia molestosa. Y aquí, en una preocupación volcada hacia el estilo, Sam Mendes adorna con bombos y platillos algo que quizás no requería de mayores aderezos. </span></p>\n<p><span style=\"font-weight: 400;\">Más allá de la proeza técnica que a fines de este texto importa poco o nada, </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> es la historia de dos desconocidos, dos soldados anónimos a través de los cuales se transita los horrores de la guerra, pero descansar la efectividad en el mero hecho de haber abandonado la fragmentación, puede significar un descuido hacia otros aspectos de la película que por más absorbente que resulte el relato aflora en momentos de flaqueza como lugares comunes en los diálogos y situaciones.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=GGbXlNTOVHE\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=GGbXlNTOVHE\n</div></figure>\n<!-- /wp:core-embed/youtube -->','1917 (2019)','','publish','open','open','','1917','','','2020-03-02 16:48:05','2020-03-02 19:48:05','',0,'http://lapistoladechejov.com/?p=1135',0,'post','',0),(1136,2,'2020-02-19 12:09:03','2020-02-19 15:09:03','1917','1917','','inherit','open','closed','','1917','','','2020-02-19 12:09:22','2020-02-19 15:09:22','',1135,'http://lapistoladechejov.com/wp-content/uploads/2020/02/1917.jpg',0,'attachment','image/jpeg',0),(1137,2,'2020-02-19 12:12:56','2020-02-19 15:12:56','<iframe title=\"1917 (2020) Tráiler Oficial #2 Subtitulado\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/GGbXlNTOVHE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','8a40c92086cebcece543d3b77381db40','','','2020-02-19 12:12:56','2020-02-19 15:12:56','',0,'http://lapistoladechejov.com/2020/02/19/8a40c92086cebcece543d3b77381db40/',0,'oembed_cache','',0),(1153,2,'2020-03-02 14:26:49','2020-03-02 17:26:49','<h2>Olor a barro y muerte.</h2>\n<p><b><i>1917</i></b><span style=\"font-weight: 400;\"> se ambienta en plena Primera Guerra Mundial para contar una historia bien sencilla en cuanto a la trama: dos soldados británicos deben cruzar territorio enemigo para entregar un mensaje que evitaría la masacre de un batallón de soldados. Pero la misión no es nada fácil, porque además de ser una carrera contra el tiempo (deben llegar antes del amanecer), supone abandonar las trincheras y cruzar sin protección alguna un pueblo ocupado. La ejecución exitosa de la misión es tan remota que ni el propio general que ordena dicho cometido es tan crédulo, y así, como una bengala desesperada en el aire, ambos soldados emprenden la travesía. </span></p>\n<p><span style=\"font-weight: 400;\">André Bazin sostenía que no era un detalle menor el modo en que un suceso sea narrado, ya sea en fragmentos o planos articulados mediante el montaje, o representado como una unidad continua, motivo por el cual hablar de </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> implica inevitablemente referirnos al recurso narrativo predominante de la película. El film está dividido en dos grandes bloques que se corresponden a dos secuencias largas: una de día, que inicia con los dos soldados descansando bajo un árbol, y una secuencia nocturna que culmina con el amanecer sobre el campo de batalla. Ambas secuencias, sin cortes aparentes, sostienen la integridad de la continuidad del espacio y del tiempo, a la vez que la cámara aprovecha las discontinuidades que su movimiento lo permite, como variaciones en su posición, en los encuadres y reencuadres, y la constante circulación de personajes y elementos que ingresan y salen del cuadro. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>1917, </i></b><span style=\"font-weight: 400;\">la utilización del plano secuencia como un modo de enunciación cinematográfico provoca dos efectos viscerales que colocan al espectador en medio del barro y del olor a muerte. Por un lado, el tiempo del relato o el tiempo narrativo se corresponde con el tiempo que vive el espectador, por lo que la angustia del tiempo y la desesperación se siente segundo a segundo. Los minutos que transcurren en la historia son los minutos que los personajes tienen para llegar a destino. Por otra parte, sumergir la cámara en los lugares más claustrofóbicos de la trinchera permite una aproximación al espacio ya que la secuencia continua envuelve al espectador en el peligro de la guerra misma; entre cuerpos mutilados, aviones derribados y disparos incesantes, la cámara se convierte en nuestros ojos y somos un soldado más que escolta a los personajes. </span></p>\n<p><span style=\"font-weight: 400;\">Por el contrario, y en detrimento del efecto inmersivo que se logra a nivel visual, la banda sonora excesiva y majestuosa invade la sensación casi realista de la narración a tal punto que la obstinación por realzar las emociones mediante la música se traduce en una redundancia molestosa. Y aquí, en una preocupación volcada hacia el estilo, Sam Mendes adorna con bombos y platillos algo que quizás no requería de mayores aderezos. </span></p>\n<p><span style=\"font-weight: 400;\">Más allá de la proeza técnica que a fines de este texto importa poco o nada, </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> es la historia de dos desconocidos, dos soldados anónimos a través de los cuales se transita los horrores de la guerra, pero descansar la efectividad en el mero hecho de haber abandonado la fragmentación, puede significar un descuido hacia otros aspectos de la película que por más absorbente que resulte el relato aflora en momentos de flaqueza como lugares comunes en los diálogos y situaciones.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=GGbXlNTOVHE\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=GGbXlNTOVHE\n</div></figure>\n<!-- /wp:core-embed/youtube -->','1917 (2019)','','inherit','closed','closed','','1135-revision-v1','','','2020-03-02 14:26:49','2020-03-02 17:26:49','',1135,'http://lapistoladechejov.com/2020/03/02/1135-revision-v1/',0,'revision','',0),(1141,2,'2020-02-19 12:19:54','2020-02-19 15:19:54','<h2>Olor a barro y muerte.</h2>\n<p><b><i>1917</i></b><span style=\"font-weight: 400;\"> se ambienta en plena Primera Guerra Mundial para contar una historia bien sencilla en cuanto a la trama: dos soldados británicos deben cruzar territorio enemigo para entregar un mensaje que evitaría la masacre de un batallón de soldados. Pero la misión no es nada fácil, porque además de ser una carrera contra el tiempo (deben llegar antes del amanecer), supone abandonar las trincheras y cruzar sin protección alguna un pueblo ocupado. La ejecución exitosa de la misión es tan remota que ni el propio general que ordena dicho cometido es tan crédulo, y así, como una bengala desesperada en el aire, ambos soldados emprenden la travesía. </span></p>\n<p><span style=\"font-weight: 400;\">André Bazin sostenía que no era un detalle menor el modo en que un suceso sea narrado, ya sea en fragmentos o planos articulados mediante el montaje, o representado como una unidad continua, motivo por el cual hablar de </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> implica inevitablemente referirnos al recurso narrativo predominante de la película. El film está dividido en dos grandes bloques que se corresponden a dos secuencias largas: una de día, que inicia con los dos soldados descansando bajo un árbol, y una secuencia nocturna que culmina con el amanecer sobre el campo de batalla. Ambas secuencias, sin cortes aparentes, sostienen la integridad de la continuidad del espacio y del tiempo, a la vez que la cámara aprovecha las discontinuidades que su movimiento lo permite, como variaciones en su posición, en los encuadres y reencuadres, y la constante circulación de personajes y elementos que ingresan y salen del cuadro. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>1917, </i></b><span style=\"font-weight: 400;\">la utilización del plano secuencia como un modo de enunciación cinematográfico provoca dos efectos viscerales que colocan al espectador en medio del barro y del olor a muerte. Por un lado, el tiempo del relato o el tiempo narrativo se corresponde con el tiempo que vive el espectador, por lo que la angustia del tiempo y la desesperación se siente segundo a segundo. Los minutos que transcurren en la historia son los minutos que los personajes tienen para llegar a destino. Por otra parte, sumergir la cámara en los lugares más claustrofóbicos de la trinchera permite una aproximación al espacio ya que la secuencia continua envuelve al espectador en el peligro de la guerra misma; entre cuerpos mutilados, aviones derribados y disparos incesantes, la cámara se convierte en nuestros ojos y somos un soldado más que escolta a los personajes. </span></p>\n<p><span style=\"font-weight: 400;\">Por el contrario, y en detrimento del efecto inmersivo que se logra a nivel visual, la banda sonora excesiva y majestuosa invade la sensación casi realista de la narración a tal punto que la obstinación por realzar las emociones mediante la música se traduce en una redundancia molestosa. Y aquí, en una preocupación volcada hacia el estilo, Sam Mendes adorna con bombos y platillos algo que quizás no requería de mayores aderezos. </span></p>\n<p><span style=\"font-weight: 400;\">Más allá de la proeza técnica que a fines de este texto importa poco o nada, </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> es la historia de dos desconocidos, dos soldados anónimos a través de los cuales se transita los horrores de la guerra, pero descansar la efectividad en el mero hecho de haber abandonado la fragmentación, puede significar un descuido hacia otros aspectos de la película que por más absorbente que resulte el relato aflora en momentos de flaqueza como lugares comunes en los diálogos y situaciones.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=GGbXlNTOVHE\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=GGbXlNTOVHE\n</div></figure>\n<!-- /wp:core-embed/youtube -->','1917','','inherit','closed','closed','','1135-revision-v1','','','2020-02-19 12:19:54','2020-02-19 15:19:54','',1135,'http://lapistoladechejov.com/2020/02/19/1135-revision-v1/',0,'revision','',0),(1139,2,'2020-02-19 12:13:55','2020-02-19 15:13:55','<h2>Olor a barro y muerte.</h2>\n<p><b><i>1917</i></b><span style=\"font-weight: 400;\"> se ambienta en plena Primera Guerra Mundial para contar una historia bien sencilla en cuanto a la trama: dos soldados británicos deben cruzar territorio enemigo para entregar un mensaje que evitaría la masacre de un batallón de soldados. Pero la misión no es nada fácil, porque además de ser una carrera contra el tiempo (deben llegar antes del amanecer), supone abandonar las trincheras y cruzar sin protección alguna un pueblo ocupado. La ejecución exitosa de la misión es tan remota que ni el propio general que ordena dicho cometido es tan crédulo, y así, como una bengala desesperada en el aire, ambos soldados emprenden la travesía. </span></p>\n<p><span style=\"font-weight: 400;\">André Bazin sostenía que no era un detalle menor el modo en que un suceso sea narrado, ya sea en fragmentos o planos articulados mediante el montaje, o representado como una unidad continua, motivo por el cual hablar de </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> implica inevitablemente referirnos al recurso narrativo predominante de la película. El film está dividido en dos grandes bloques que se corresponden a dos secuencias largas: una de día, que inicia con los dos soldados descansando bajo un árbol, y una secuencia nocturna que culmina con el amanecer sobre el campo de batalla. Ambas secuencias, sin cortes aparentes, sostienen la integridad de la continuidad del espacio y del tiempo, a la vez que la cámara aprovecha las discontinuidades que su movimiento lo permite, como variaciones en su posición, en los encuadres y reencuadres, y la constante circulación de personajes y elementos que ingresan y salen del cuadro. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>1917, </i></b><span style=\"font-weight: 400;\">la utilización del plano secuencia como un modo de enunciación cinematográfico provoca dos efectos viscerales que colocan al espectador en medio del barro y del olor a muerte. Por un lado, el tiempo del relato o el tiempo narrativo se corresponde con el tiempo que vive el espectador, por lo que la angustia del tiempo y la desesperación se siente segundo a segundo. Los minutos que transcurren en la historia son los minutos que los personajes tienen para llegar a destino. Por otra parte, sumergir la cámara en los lugares más claustrofóbicos de la trinchera permite una aproximación al espacio ya que la secuencia continua envuelve al espectador en el peligro de la guerra misma; entre cuerpos mutilados, aviones derribados y disparos incesantes, la cámara se convierte en nuestros ojos y somos un soldado más que escolta a los personajes. </span></p>\n<p><span style=\"font-weight: 400;\">Por el contrario, y en detrimento del efecto inmersivo que se logra a nivel visual, la banda sonora excesiva y majestuosa invade la sensación casi realista de la narración a tal punto que la obstinación por realzar las emociones mediante la música se traduce en una redundancia molestosa. Y aquí, en una preocupación volcada hacia el estilo, Sam Mendes adorna con bombos y platillos algo que quizás no requería de mayores aderezos. </span></p>\n<p><span style=\"font-weight: 400;\">Más allá de la proeza técnica que a fines de este texto importa poco o nada, </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> es la historia de dos desconocidos, dos soldados anónimos a través de los cuales se transita los horrores de la guerra, pero descansar la efectividad en el mero hecho de haber abandonado la fragmentación, puede significar un descuido hacia otros aspectos de la película que por más absorbente que resulte el relato aflora en momentos de flaqueza como lugares comunes en los diálogos y situaciones.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=GGbXlNTOVHE\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=GGbXlNTOVHE\n</div></figure>\n<!-- /wp:core-embed/youtube -->','1917','','inherit','closed','closed','','1135-revision-v1','','','2020-02-19 12:13:55','2020-02-19 15:13:55','',1135,'http://lapistoladechejov.com/2020/02/19/1135-revision-v1/',0,'revision','',0),(1140,2,'2020-02-19 12:16:37','2020-02-19 15:16:37','<h2>Destellos de nostalgia y melancolía.</h2>\n<p><span style=\"font-weight: 400;\">Con unas fotografías en blanco y negro de una decaída ciudad sumida en la pobreza, Julie narra la idea de un proyecto de largometraje ficción que indaga una relación abrumadora entre madre e hijo, y el miedo agobiante que él siente ante la sola posibilidad de perderla. Al final, cuenta Julie, la madre muere, porque el amor infinito, casi obsesivo no pudo contra la muerte. En estas primeras imágenes y en estas primeras líneas de diálogo se esconde el eje argumental de </span><b><i>The Souvenir </i></b><span style=\"font-weight: 400;\">(2019), una película íntima que relata los altibajos de la relación turbulenta entre una estudiante de cine y un hombre misterioso.</span></p>\n<p><span style=\"font-weight: 400;\">Julie conoce a Anthony en una fiesta en su departamento. Su carácter enigmático, opaco, se retrata en la historia; no en vano su presencia se resguarda del encuadre. Cuando le vemos por primera vez, es apenas una sombra que entra y sale del cuadro y las veces siguientes, se nos vela su figura mediante espejos o posiciones de espalda. Recién durante la primera cita en un cafetería ostentosa, y sólo cuando él pide la cuenta, es que su rostro se dibuja con claridad ante la cámara. Es innegable que su personalidad, entre erudita y arrogante (y un tanto sensual) suscita interés, pero aquella pesadumbre que lo acosa tarde o temprano será visible, ya sea en un gesto tan imperceptible como rascarse el brazo o pedir prestado dinero. </span></p>\n<p><span style=\"font-weight: 400;\">Julie, por su parte, se ve enfrascada entre sostener esta relación conflictiva y encontrar su voz personal como directora de cine. En medio de conversaciones sobre Rivette y clases de montaje, la presencia de Anthony le obnubila la creatividad, pero a la vez agita cuestionamientos sobre sus privilegios de clase o su misma motivación para escribir y dirigir. Y aquí la complejidad de su relación, porque también la ausencia esporádica e incierta de Anthony, a veces por varios días, sumado a sus vagas andanzas laborales, atormenta a Julie de manera visible ante la mirada impotente de su madre y compañeros de facultad. </span></p>\n<p><span style=\"font-weight: 400;\">Ambientada en los años ‘80, Joanna Hogg evoca los recuerdos de sus años como estudiante de cine a través de imágenes brumosas que mezcla material de archivo con imágenes granuladas que remiten a las texturas nostálgicas del fílmico. En ocasiones, Julie observa fotografías de la ciudad, o edita en una moviola, como si la directora misma estuviera resguardándose en los ojos de su personaje para presenciar lo que en parte fue su historia personal. El film tiene un cierto aire de levedad no por lo que narra, sino por la matiz y la melancolía que configura la imagen y la iluminación suave y blanquecina que se filtra por las ventanas de donde habita la pareja, casi como un sueño donde el despertar recuerda la nitidez de la realidad y del presente. </span></p>\n<p><b><i>The Souvenir </i></b><span style=\"font-weight: 400;\">cautiva con los destellos fragmentados de la relación que se encadenan cronológicamente pero que no se adscriben a una lógica temporal precisa, y con una edición que ignora la continuidad; existen momentos dilatados que reposan la mirada sobre desayunos y almuerzos, o conversaciones distantes en largos pasillos, mientras otros sucesos que tienen lugar durante un lapso de tiempo indefinido, como una recaída y la posterior recuperación, se resuelven fugazmente en dos o tres escenas, pues para Hogg, la reminiscencia del pasado se encarga de realizar su propia edición. </span></p>\n<p><span style=\"font-weight: 400;\">Los espejos, que delimitan el punto de vista del espectador a la vez que sugieren cierto desprendimiento entre el reflejo y la imagen del reflejo, enfatizan la idea de contemplación reflexiva, quizás un intento por desentrañar esta relación particular y sufrida porque queda claro que lo que interesa a la directora no es explicar el por qué del actuar de sus personajes sino transitar las complicaciones del desamor.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=K8gkdmrR2MU\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=K8gkdmrR2MU\n</div></figure>\n<!-- /wp:core-embed/youtube -->','The Souvenir (2019)','','inherit','closed','closed','','1099-revision-v1','','','2020-02-19 12:16:37','2020-02-19 15:16:37','',1099,'http://lapistoladechejov.com/2020/02/19/1099-revision-v1/',0,'revision','',0),(1158,2,'2020-03-02 16:47:46','2020-03-02 19:47:46','<h2>Olor a barro y muerte.</h2>\n<p><b><i>1917</i></b><span style=\"font-weight: 400;\"> se ambienta en plena Primera Guerra Mundial para contar una historia bien sencilla en cuanto a la trama: dos soldados británicos deben cruzar territorio enemigo para entregar un mensaje que evitaría la masacre de un batallón de soldados. Pero la misión no es nada fácil, porque además de ser una carrera contra el tiempo (deben llegar antes del amanecer), supone abandonar las trincheras y cruzar sin protección alguna un pueblo ocupado. La ejecución exitosa de la misión es tan remota que ni el propio general que ordena dicho cometido es tan crédulo, y así, como una bengala desesperada en el aire, ambos soldados emprenden la travesía. </span></p>\n<p><span style=\"font-weight: 400;\">André Bazin sostenía que no era un detalle menor el modo en que un suceso sea narrado, ya sea en fragmentos o planos articulados mediante el montaje, o representado como una unidad continua, motivo por el cual hablar de </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> implica inevitablemente referirnos al recurso narrativo predominante de la película. El film está dividido en dos grandes bloques que se corresponden a dos secuencias largas: una de día, que inicia con los dos soldados descansando bajo un árbol, y una secuencia nocturna que culmina con el amanecer sobre el campo de batalla. Ambas secuencias, sin cortes aparentes, sostienen la integridad de la continuidad del espacio y del tiempo, a la vez que la cámara aprovecha las discontinuidades que su movimiento lo permite, como variaciones en su posición, en los encuadres y reencuadres, y la constante circulación de personajes y elementos que ingresan y salen del cuadro. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>1917, </i></b><span style=\"font-weight: 400;\">la utilización del plano secuencia como un modo de enunciación cinematográfico provoca dos efectos viscerales que colocan al espectador en medio del barro y del olor a muerte. Por un lado, el tiempo del relato o el tiempo narrativo se corresponde con el tiempo que vive el espectador, por lo que la angustia del tiempo y la desesperación se siente segundo a segundo. Los minutos que transcurren en la historia son los minutos que los personajes tienen para llegar a destino. Por otra parte, sumergir la cámara en los lugares más claustrofóbicos de la trinchera permite una aproximación al espacio ya que la secuencia continua envuelve al espectador en el peligro de la guerra misma; entre cuerpos mutilados, aviones derribados y disparos incesantes, la cámara se convierte en nuestros ojos y somos un soldado más que escolta a los personajes. </span></p>\n<p><span style=\"font-weight: 400;\">Por el contrario, y en detrimento del efecto inmersivo que se logra a nivel visual, la banda sonora excesiva y majestuosa invade la sensación casi realista de la narración a tal punto que la obstinación por realzar las emociones mediante la música se traduce en una redundancia molestosa. Y aquí, en una preocupación volcada hacia el estilo, Sam Mendes adorna con bombos y platillos algo que quizás no requería de mayores aderezos. </span></p>\n<p><span style=\"font-weight: 400;\">Más allá de la proeza técnica que a fines de este texto importa poco o nada, </span><b><i>1917</i></b><span style=\"font-weight: 400;\"> es la historia de dos desconocidos, dos soldados anónimos a través de los cuales se transita los horrores de la guerra, pero descansar la efectividad en el mero hecho de haber abandonado la fragmentación, puede significar un descuido hacia otros aspectos de la película que por más absorbente que resulte el relato aflora en momentos de flaqueza como lugares comunes en los diálogos y situaciones.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=GGbXlNTOVHE\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=GGbXlNTOVHE\n</div></figure>\n<!-- /wp:core-embed/youtube -->','1917 (2019)','','inherit','closed','closed','','1135-revision-v1','','','2020-03-02 16:47:46','2020-03-02 19:47:46','',1135,'http://lapistoladechejov.com/2020/03/02/1135-revision-v1/',0,'revision','',0),(1080,1,'2019-12-28 16:39:09','2019-12-28 19:39:09','<h2>Alexandra Vazquez</h2>\n<h3>Crítica de cine, docente, guionista.</h3>\n<p dir=\"ltr\"><img class=\"alignleft size-medium wp-image-935\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Alexandra-Vazquez-imagen-perfil-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\">Alexandra Vazquez, crítica de cine, guionista y realizadora. Máster en Crítica Cinematográfica egresada de la escuela Aula Crítica, en Barcelona, y Lic. en Cinematografía con énfasis en Guión de la Universidad Columbia del Paraguay.</p>\n<p dir=\"ltr\">En su carácter de crítica, escribe para la revista internacional de crítica especializada El Espectador Imaginario y para su blog <i>La Pistola de Chéjov</i>. Además, es coordinadora y disertante del ciclo de cine debate gratuito <i>En Foco</i> que se realiza una vez al mes. Ha escrito también para la Revista Encuadra de Argentina y ha participado del Talent Press en el marco del Buenos Aires Talents, foro de discusión cinematográfico organizado por la Universidad del Cine en colaboración con el Festival de Cine de Berlín, Berlinale Talents, el Goethe-Institut Buenos Aires y el BAFICI. <span id=\"m_-6650225958021873647gmail-docs-internal-guid-5c1dc301-7fff-31c3-eb3f-caa271f286b4\">Trabaja además como guionista freelance y script doctor y desde el 2017 se desempeña como docente en la carrera de cinematografía de la Universidad Columbia.</span></p>\n<p dir=\"ltr\">Se encuentra desarrollando Yo también, proyecto de largometraje que ha participado en el Taller Cinematográfico Los Residentes, en Paraguay (2017), y en el 6to Laboratorio de Guion organizado por la Corporación Cinefilia, en Colombia (2018). El proyecto ha formado parte de la selección oficial del Oaxaca Filmfest 2017, México, en la categoría de Global Script Challenge.</p>\n<p dir=\"ltr\"></p>\n[col size=\"8\"]\n\n[contact-form-7 id=\"5\" title=\"Contact Us\"]\n\n[/col]','Contacto','','inherit','closed','closed','','818-revision-v1','','','2019-12-28 16:39:09','2019-12-28 19:39:09','',818,'http://lapistoladechejov.com/2019/12/28/818-revision-v1/',0,'revision','',0),(641,1,'2019-12-24 18:23:53','2019-12-24 21:23:53','','Logo Pistola Chejov','','inherit','open','closed','','39913955_483299725471418_2733573171520208896_o','','','2019-12-24 18:24:23','2019-12-24 21:24:23','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/39913955_483299725471418_2733573171520208896_o.png',0,'attachment','image/png',0),(643,1,'2019-12-24 18:48:08','2019-12-24 21:48:08','','logo chejov footer 80px','','inherit','open','closed','','logo-chejov-footer-80px','','','2019-12-24 18:48:08','2019-12-24 21:48:08','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-chejov-footer-80px.png',0,'attachment','image/png',0),(645,1,'2019-12-24 18:49:40','2019-12-24 21:49:40','','logo la pistola de chejov40px','','inherit','open','closed','','logo-la-pistola-de-chejov40px','','','2019-12-24 18:49:40','2019-12-24 21:49:40','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-la-pistola-de-chejov40px.png',0,'attachment','image/png',0),(646,1,'2019-12-24 18:51:51','2019-12-24 21:51:51','','logo chejov header large80px negro','','inherit','open','closed','','logo-chejov-header-large80px-negro','','','2019-12-24 18:51:51','2019-12-24 21:51:51','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-chejov-header-large80px-negro.png',0,'attachment','image/png',0),(647,1,'2019-12-24 18:51:55','2019-12-24 21:51:55','','logo la pistola de chejov80px large','','inherit','open','closed','','logo-la-pistola-de-chejov80px-large','','','2019-12-24 18:51:55','2019-12-24 21:51:55','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-la-pistola-de-chejov80px-large.png',0,'attachment','image/png',0),(1375,2,'2020-11-09 10:25:32','2020-11-09 13:25:32','La angustia corroe el alma','alifeareatsthesoul','','inherit','open','closed','','alifeareatsthesoul','','','2020-11-09 10:25:54','2020-11-09 13:25:54','',1374,'http://lapistoladechejov.com/wp-content/uploads/2020/11/alifeareatsthesoul.jpg',0,'attachment','image/jpeg',0),(1376,2,'2020-11-09 10:27:32','2020-11-09 13:27:32','<h2>La angustia de los otros.</h2>\n<span style=\"font-weight: 400;\">Emmi es una viuda sexagenaria que trabaja de limpiadora, y El Hedi ben Salem, más conocido como Ali, un marroquí de unos treinta años que trabaja en un taller mecánico. Ellos se conocen en un café de obreros inmigrantes. Ella, atraída por la música, se refugia de la lluvia; él, ahogado en un vaso de cerveza, accede a cualquier reto y baila con ella. Ambos personajes, afligidos desde el vamos, forjarán una peculiar relación incomprendida por el mundo en el que habitan. </span>\n\n<span style=\"font-weight: 400;\">Rainer Werner Fassbinder desglosa la angustia en cada elemento de la puesta en escena, y como resultado, sofoca con el entorno que describe. En la fotografía, tanto Emmi como Ali, se muestran agobiados por los lugares que transitan. La aparición de Emmi en el bar adopta un punto de vista extraño, donde ella se encuentra al costado del cuadro, comprimida por una hilera de sillas vacías, y enmarcada por la puerta que la había conducido a ese entorno extraño. Ella no pertenece ahí, lo sabe, pero aún así pide una coca cola esperando encajar o al menos pasar desapercibida. Durante el primer baile juntos, la cámara se posiciona detrás de una silla. Observa desde lejos y con timidez a la pareja, privada de la cercanía del mismo gesto. Puertas, ventanas, rejas y barandas delimitan los espacios interiores y exteriores, y en </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">se erigen como barreras que obligan a sus protagonistas a vivir su amor bajo confinamiento o aislamiento.</span>\n\n<span style=\"font-weight: 400;\">La distancia que adopta la cámara nunca se subsana del todo. Cada tanto, pareciera recordar las diferencias entre ambos, y los contempla desde un plano tan abierto que apenas permite distinguir sus gestos. A la vez, al aproximarse con lentos movimientos hacia adelante, regala a los amantes lo que otros no pueden: la posibilidad de estar juntos y el permiso de mirar desde más cerca. </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">se retira de la crisis, y se aproxima al dolor, y cada tanto presencia el romance desde el punto de vista de un otro distante, el que critica con la mirada y que observa velado por el cuadriculado de la ventanilla. Cuando Emmi invita a Ali a tomar una copa de coñac, la cámara se desplaza hacia atrás en un gesto distante incapaz de percibir las reacciones asertivas de los recién conocidos. Por el contrario, en la misma escena, deja abarcar en la imagen la hostilidad de las vecinas que se cuestionan con aversión qué hace ella con un hombre como él. </span>\n\n<span style=\"font-weight: 400;\">Estos desplazamientos sutiles, que se repiten como anáforas visuales, genera una tensión tan puntual que sofoca; nunca se acerca del todo, pero tampoco se aleja tanto como para ignorar las voces envidiosas que se entrometen en la relación. En </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">son los otros los que están angustiados, y a la vez esta angustia externa repercute en la pareja como un virus infeccioso que los carcome lentamente. No en vano el momento de idilio de la pareja, unas vacaciones fuera del país, en un lugar lejano, pero no identificado, ocurre entre un fundido y el otro, en una elipsis incierta porque en el departamento donde viven los problemas no desaparecen, solo se vuelven otros. </span>\n\n<span style=\"font-weight: 400;\">La primera parte de la película se enfoca en ella, en cómo tolera apenas el maltrato de los demás mientras que la segunda parte observa los andares de Ali, la imposibilidad de corresponder sus deseos con los de Emmi, y los esfuerzos que realiza con resignación para la obtener la aprobación de un país que siempre le dio la espalda. A pesar de este quiebre narrativo, existen similitudes que van más allá del punto de vista adoptado. Tanto Emmi como Ali se refieren a ellos mismos en tercera persona ante la incomodidad de aclarar cómo se sienten o explicar el por qué de su actuar. El amor que brota entre ellos es más sencillo que cualquier conjetura venenosa; no se trata de dinero ni de conveniencia sino es tan simple como dos personas que se acompañan en la soledad. Los personajes que rodean a Emmi, tanto en su ambiente laboral como familiar, se sienten ofendidos por el matrimonio. No se sabe si les disgusta más la diferencia de edad, o el hecho de que Ali sea un inmigrante que apenas habla alemán, o si el motivo es una mezcla de ambas cosas, pero lo cierto es que ninguna persona con la que se cruzan a lo largo de la película puede evitar mirarlos fijamente. La mirada que reciben es acusadora, inmóvil e inmutable, como si estuvieran hipnotizados por algo tan horrendo que detiene el tiempo. En este instante, los otros ni se atreven a parpadear, sus actuaciones son rígidas e inalterables incluso frente al griterío o el llanto desconsolado de Emmi. El único que ofrece una reacción desmesurada es uno de los hijos de ella, quien transforma la ansiedad en odio y destroza el televisor sin decir nada. </span>\n\n<span style=\"font-weight: 400;\">La angustia, palabra que proviene del alemán </span><i><span style=\"font-weight: 400;\">angst</span></i><span style=\"font-weight: 400;\">, se refiere a una reacción emocional hacia lo desconocido. Hacia el final de la película, el cuerpo se ha quebrado, y la felicidad se ha esfumado. Los días de café y brandy fueron un sueño. A través del reflejo de un espejo de un hospital, Emmi se acerca a Ali después de una operación de úlcera perforada, fruto del estrés y la bebida, y la bebida por el estrés. Para ellos, el futuro es incierto, no por la diferencia, sino porque la angustia a la larga agota el alma.  </span>','La angustia corre el alma (1974)','','inherit','closed','closed','','1374-revision-v1','','','2020-11-09 10:27:32','2020-11-09 13:27:32','',1374,'http://lapistoladechejov.com/2020/11/09/1374-revision-v1/',0,'revision','',0),(1374,2,'2020-11-09 10:28:53','2020-11-09 13:28:53','<h2>La angustia de los otros.</h2>\n<span style=\"font-weight: 400;\">Emmi es una viuda sexagenaria que trabaja de limpiadora, y El Hedi ben Salem, más conocido como Ali, un marroquí de unos treinta años que trabaja en un taller mecánico. Ellos se conocen en un café de obreros inmigrantes. Ella, atraída por la música, se refugia de la lluvia; él, ahogado en un vaso de cerveza, accede a cualquier reto y baila con ella. Ambos personajes, afligidos desde el vamos, forjarán una peculiar relación incomprendida por el mundo en el que habitan. </span>\n\n<span style=\"font-weight: 400;\">Rainer Werner Fassbinder desglosa la angustia en cada elemento de la puesta en escena, y como resultado, sofoca con el entorno que describe. En la fotografía, tanto Emmi como Ali, se muestran agobiados por los lugares que transitan. La aparición de Emmi en el bar adopta un punto de vista extraño, donde ella se encuentra al costado del cuadro, comprimida por una hilera de sillas vacías, y enmarcada por la puerta que la había conducido a ese entorno extraño. Ella no pertenece ahí, lo sabe, pero aún así pide una coca cola esperando encajar o al menos pasar desapercibida. Durante el primer baile juntos, la cámara se posiciona detrás de una silla. Observa desde lejos y con timidez a la pareja, privada de la cercanía del mismo gesto. Puertas, ventanas, rejas y barandas delimitan los espacios interiores y exteriores, y en </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">se erigen como barreras que obligan a sus protagonistas a vivir su amor bajo confinamiento o aislamiento.</span>\n\n<span style=\"font-weight: 400;\">La distancia que adopta la cámara nunca se subsana del todo. Cada tanto, pareciera recordar las diferencias entre ambos, y los contempla desde un plano tan abierto que apenas permite distinguir sus gestos. A la vez, al aproximarse con lentos movimientos hacia adelante, regala a los amantes lo que otros no pueden: la posibilidad de estar juntos y el permiso de mirar desde más cerca. </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">se retira de la crisis, y se aproxima al dolor, y cada tanto presencia el romance desde el punto de vista de un otro distante, el que critica con la mirada y que observa velado por el cuadriculado de la ventanilla. Cuando Emmi invita a Ali a tomar una copa de coñac, la cámara se desplaza hacia atrás en un gesto distante incapaz de percibir las reacciones asertivas de los recién conocidos. Por el contrario, en la misma escena, deja abarcar en la imagen la hostilidad de las vecinas que se cuestionan con aversión qué hace ella con un hombre como él. </span>\n\n<span style=\"font-weight: 400;\">Estos desplazamientos sutiles, que se repiten como anáforas visuales, genera una tensión tan puntual que sofoca; nunca se acerca del todo, pero tampoco se aleja tanto como para ignorar las voces envidiosas que se entrometen en la relación. En </span><b><i>La angustia corroe el alma </i></b><span style=\"font-weight: 400;\">son los otros los que están angustiados, y a la vez esta angustia externa repercute en la pareja como un virus infeccioso que los carcome lentamente. No en vano el momento de idilio de la pareja, unas vacaciones fuera del país, en un lugar lejano, pero no identificado, ocurre entre un fundido y el otro, en una elipsis incierta porque en el departamento donde viven los problemas no desaparecen, solo se vuelven otros. </span>\n\n<span style=\"font-weight: 400;\">La primera parte de la película se enfoca en ella, en cómo tolera apenas el maltrato de los demás mientras que la segunda parte observa los andares de Ali, la imposibilidad de corresponder sus deseos con los de Emmi, y los esfuerzos que realiza con resignación para la obtener la aprobación de un país que siempre le dio la espalda. A pesar de este quiebre narrativo, existen similitudes que van más allá del punto de vista adoptado. Tanto Emmi como Ali se refieren a ellos mismos en tercera persona ante la incomodidad de aclarar cómo se sienten o explicar el por qué de su actuar. El amor que brota entre ellos es más sencillo que cualquier conjetura venenosa; no se trata de dinero ni de conveniencia sino es tan simple como dos personas que se acompañan en la soledad. Los personajes que rodean a Emmi, tanto en su ambiente laboral como familiar, se sienten ofendidos por el matrimonio. No se sabe si les disgusta más la diferencia de edad, o el hecho de que Ali sea un inmigrante que apenas habla alemán, o si el motivo es una mezcla de ambas cosas, pero lo cierto es que ninguna persona con la que se cruzan a lo largo de la película puede evitar mirarlos fijamente. La mirada que reciben es acusadora, inmóvil e inmutable, como si estuvieran hipnotizados por algo tan horrendo que detiene el tiempo. En este instante, los otros ni se atreven a parpadear, sus actuaciones son rígidas e inalterables incluso frente al griterío o el llanto desconsolado de Emmi. El único que ofrece una reacción desmesurada es uno de los hijos de ella, quien transforma la ansiedad en odio y destroza el televisor sin decir nada. </span>\n\n<span style=\"font-weight: 400;\">La angustia, palabra que proviene del alemán </span><i><span style=\"font-weight: 400;\">angst</span></i><span style=\"font-weight: 400;\">, se refiere a una reacción emocional hacia lo desconocido. Hacia el final de la película, el cuerpo se ha quebrado, y la felicidad se ha esfumado. Los días de café y brandy fueron un sueño. A través del reflejo de un espejo de un hospital, Emmi se acerca a Ali después de una operación de úlcera perforada, fruto del estrés y la bebida, y la bebida por el estrés. Para ellos, el futuro es incierto, no por la diferencia, sino porque la angustia a la larga agota el alma.  </span>','La angustia corroe el alma (1974)','','publish','open','open','','la-angustia-corre-el-alma-1974','','','2020-11-11 12:05:54','2020-11-11 15:05:54','',0,'http://lapistoladechejov.com/?p=1374',0,'post','',0),(1371,2,'2020-11-06 17:19:58','2020-11-06 20:19:58','<h2>Un boleto al erotismo.</h2>\nChristine lee el diario todos los días en busca de un trabajo pero lo único que consigue son insinuaciones de los hombres que la entrevistan y que solo quieren ver sus pechos. Por recomendación de una amiga, consigue trabajo en una sala de cine pornográfico y pareciera que la vida en Nueva York será al fin sostenible para ella, pero <strong><em>Variety</em></strong> recién comienza. Desde una casilla minúscula de vidrio, es Christine la que sin saberlo compra un boleto al mundo del erotismo donde poco a poco la imaginación se va impregnando sobre la realidad a través de la pantalla de cine.\n\nLos hombres que acuden a Variety son personajes sin rostro, anónimos y mudos, que ingresan al cine con el mismo automatismo de cuando suben al metro o se dirigen a su trabajo. La única mujer de carne y hueso presente ahí es Christine, exhibida en una vitrina como publicidad engañosa de la sala, y a quien ellos intentan robar algún que otro roce de manos. A pesar de este atrevimiento, en <strong><em>Variety </em></strong>son los hombres los que se sienten incómodos con la presencia de Christine, una intrusa que quiebra el ideal hipotético de sus fantasías. Mark, su novio, habla entusiasmado de una red de sindicalistas mafiosos que ha descubierto en los establecimientos pesqueros casi sin prestar atención a su pareja, pero cuando escucha la palabra porno de la boca de Christine, no sabe cómo reaccionar.\n\n<strong><em>Variety </em></strong>coquetea con la idea de una profecía autocumplida, tanto en ella como en nosotros, y en los hombres que la rodean. Una de las amigas de Christine relata cómo fue detenida en la comisaría por prostitución cuando en realidad fue obligada a mentir para librarse de un grupo de hombres insistentes. Por su parte, Christine se ve cautivada por la pantalla de cine, por las escenas de las películas y por el comportamiento de los personajes tan direccionado a la mera excitación. Lo que nosotros no vemos, ella nos relata con detalle, como si estuviera deglutiendo las imágenes en función a su propio interés. El erotismo explícito se traduce en palabras, y los gemidos, tan rutinarios, en líneas de diálogos y súplicas. Tal como ella adquiere la habilidad de narrar escenas, ciertos elementos salen de la película y se desdibujan sobre ella. Tras el detalle de unos labios pintados, ella adquiere el hábito de también pintarse los labios con un color más fuerte. A medida que pasan los días, el erotismo se vuelve corriente y ella trae a su casa el afiche de una película exhibida en Variety junto con las compras del supermercado. Galletas, helado, jugo de naranja, un cigarrillo y una llamada telefónica de su madre pueden ser consumidos al mismo tiempo. Al recibir en el contestador un mensaje erótico de algún admirador, no se molesta, lo escucha dos veces, como si estuviera haciendo el ejercicio inverso de imaginarlo en pantalla.\n\nTras una cita fallida con Louie, un empresario y habitué de Variety, Christine se ve atraída por su carácter misterioso, y, motivada por la ilusión de la ficción que la tiene cautivada, empieza a seguirlo. Su predicción se corrobora, porque encuentra lo que busca, un poco por condicionar su comportamiento, un poco por querer ver aquello que confirme sus sospechas. Los apretones de manos con otros trajeados, los intercambios de miradas cómplices y susurros al oído, y un recorrido a través de los puertos de la ciudad donde se empaquetan pescados sólo pueden significar que él está metido en algún tipo de negocio sucio. A la par que la descripción de escenas pornográficas se vuelve más compleja y exhaustiva, como si se tratase de un relato erótico, Christine escribe con sus actos otra teoría: Louie es un mafioso sindicalista, uno de aquellos a los que su novio está investigando.\n\n<strong><em>Variety </em></strong>cambia con Christine, y empieza también a mezclar lo cotidiano con lo montado en las películas. Mientras relaja la tensión del cuerpo, siguiendo las instrucciones de alguna terapia de relajación, ella visualiza incontables apretones de mano entre Louie y otros hombres, una y otra vez, que se separan y vuelven a agarrarse como si se tratase de un ensayo antes del rodaje, o inclusive de tomas enteras sin editar de la propia película. El complot es cada vez más obvio, palpable. Ella empieza a entrenar como si se estuviera preparando para un enfrentamiento físico entre ella y él o ella y alguien. Deja de frecuentar el bar de sus amigas y solo tiene tiempo para Variety y para seguir a Louie en sus andanzas diurnas y nocturnas.\n\nPor otro lado, los encuadres mutan. El plano se cierra y permite la confusión entre una película y la otra, la de Bette Gordon y la de Christine, o la de Variety y la nuestra. Una cita entre Christine y Mark se narra con un primer plano de la nalga de él acompañado de la voz de Christine que relata un encuentro sexual entre una mujer y un tigre de la misma manera en la que brota sangre de los planos de las películas pornográficas. Los espacios públicos se vuelven preponderantes e impersonales mediante trenes y subterráneos que conducen a Christine hasta las afueras de la ciudad mientras persigue a Louie casi obsesivamente. En estos espacios, el sexo no tiene cabida pero si otro tipo de fantasías, el de la conspiración. Pareciera una gran coincidencia que ella alquile una habitación al lado mismo del supuesto mafioso, de aquellas coincidencias que ocurren en una porno, que cuando irrumpe en su habitación y revisa sus cosas, resulta hasta lógico que robe solo una revista. Y que esta misma escena a su vez, el encuentro ficticio entre ella y él en la habitación,  forme parte del inicio de una película que pasan después en una función de Variety.\n\nAl final de la película, la mujer que vestía una calza bajo el jean y llevaba el pelo recogido, ha cambiado por completo su apariencia. Bajo una luz rojiza, que emula los destellos de neón de los carteles XXX, Christine marca un número en el teléfono e increpa a Louie, quien parece no creer todo que esta mujer ahora sabe de él. O dice saber. Su rostro, cargado de confianza se prepara para encararlo, sea de madrugada en una esquina vacía o en sus sueños.','Variety (1993)','','publish','open','open','','variety-1993','','','2020-11-06 17:20:04','2020-11-06 20:20:04','',0,'http://lapistoladechejov.com/?p=1371',0,'post','',0),(1372,2,'2020-11-06 17:18:19','2020-11-06 20:18:19','','variety','','inherit','open','closed','','variety','','','2020-11-06 17:18:51','2020-11-06 20:18:51','',1371,'http://lapistoladechejov.com/wp-content/uploads/2020/11/variety.jpg',0,'attachment','image/jpeg',0),(1373,2,'2020-11-06 17:19:02','2020-11-06 20:19:02','<h2>Un boleto al erotismo.</h2>\nChristine lee el diario todos los días en busca de un trabajo pero lo único que consigue son insinuaciones de los hombres que la entrevistan y que solo quieren ver sus pechos. Por recomendación de una amiga, consigue trabajo en una sala de cine pornográfico y pareciera que la vida en Nueva York será al fin sostenible para ella, pero <strong><em>Variety</em></strong> recién comienza. Desde una casilla minúscula de vidrio, es Christine la que sin saberlo compra un boleto al mundo del erotismo donde poco a poco la imaginación se va impregnando sobre la realidad a través de la pantalla de cine.\n\nLos hombres que acuden a Variety son personajes sin rostro, anónimos y mudos, que ingresan al cine con el mismo automatismo de cuando suben al metro o se dirigen a su trabajo. La única mujer de carne y hueso presente ahí es Christine, exhibida en una vitrina como publicidad engañosa de la sala, y a quien ellos intentan robar algún que otro roce de manos. A pesar de este atrevimiento, en <strong><em>Variety </em></strong>son los hombres los que se sienten incómodos con la presencia de Christine, una intrusa que quiebra el ideal hipotético de sus fantasías. Mark, su novio, habla entusiasmado de una red de sindicalistas mafiosos que ha descubierto en los establecimientos pesqueros casi sin prestar atención a su pareja, pero cuando escucha la palabra porno de la boca de Christine, no sabe cómo reaccionar.\n\n<strong><em>Variety </em></strong>coquetea con la idea de una profecía autocumplida, tanto en ella como en nosotros, y en los hombres que la rodean. Una de las amigas de Christine relata cómo fue detenida en la comisaría por prostitución cuando en realidad fue obligada a mentir para librarse de un grupo de hombres insistentes. Por su parte, Christine se ve cautivada por la pantalla de cine, por las escenas de las películas y por el comportamiento de los personajes tan direccionado a la mera excitación. Lo que nosotros no vemos, ella nos relata con detalle, como si estuviera deglutiendo las imágenes en función a su propio interés. El erotismo explícito se traduce en palabras, y los gemidos, tan rutinarios, en líneas de diálogos y súplicas. Tal como ella adquiere la habilidad de narrar escenas, ciertos elementos salen de la película y se desdibujan sobre ella. Tras el detalle de unos labios pintados, ella adquiere el hábito de también pintarse los labios con un color más fuerte. A medida que pasan los días, el erotismo se vuelve corriente y ella trae a su casa el afiche de una película exhibida en Variety junto con las compras del supermercado. Galletas, helado, jugo de naranja, un cigarrillo y una llamada telefónica de su madre pueden ser consumidos al mismo tiempo. Al recibir en el contestador un mensaje erótico de algún admirador, no se molesta, lo escucha dos veces, como si estuviera haciendo el ejercicio inverso de imaginarlo en pantalla.\n\nTras una cita fallida con Louie, un empresario y habitué de Variety, Christine se ve atraída por su carácter misterioso, y, motivada por la ilusión de la ficción que la tiene cautivada, empieza a seguirlo. Su predicción se corrobora, porque encuentra lo que busca, un poco por condicionar su comportamiento, un poco por querer ver aquello que confirme sus sospechas. Los apretones de manos con otros trajeados, los intercambios de miradas cómplices y susurros al oído, y un recorrido a través de los puertos de la ciudad donde se empaquetan pescados sólo pueden significar que él está metido en algún tipo de negocio sucio. A la par que la descripción de escenas pornográficas se vuelve más compleja y exhaustiva, como si se tratase de un relato erótico, Christine escribe con sus actos otra teoría: Louie es un mafioso sindicalista, uno de aquellos a los que su novio está investigando.\n\n<strong><em>Variety </em></strong>cambia con Christine, y empieza también a mezclar lo cotidiano con lo montado en las películas. Mientras relaja la tensión del cuerpo, siguiendo las instrucciones de alguna terapia de relajación, ella visualiza incontables apretones de mano entre Louie y otros hombres, una y otra vez, que se separan y vuelven a agarrarse como si se tratase de un ensayo antes del rodaje, o inclusive de tomas enteras sin editar de la propia película. El complot es cada vez más obvio, palpable. Ella empieza a entrenar como si se estuviera preparando para un enfrentamiento físico entre ella y él o ella y alguien. Deja de frecuentar el bar de sus amigas y solo tiene tiempo para Variety y para seguir a Louie en sus andanzas diurnas y nocturnas.\n\nPor otro lado, los encuadres mutan. El plano se cierra y permite la confusión entre una película y la otra, la de Bette Gordon y la de Christine, o la de Variety y la nuestra. Una cita entre Christine y Mark se narra con un primer plano de la nalga de él acompañado de la voz de Christine que relata un encuentro sexual entre una mujer y un tigre de la misma manera en la que brota sangre de los planos de las películas pornográficas. Los espacios públicos se vuelven preponderantes e impersonales mediante trenes y subterráneos que conducen a Christine hasta las afueras de la ciudad mientras persigue a Louie casi obsesivamente. En estos espacios, el sexo no tiene cabida pero si otro tipo de fantasías, el de la conspiración. Pareciera una gran coincidencia que ella alquile una habitación al lado mismo del supuesto mafioso, de aquellas coincidencias que ocurren en una porno, que cuando irrumpe en su habitación y revisa sus cosas, resulta hasta lógico que robe solo una revista. Y que esta misma escena a su vez, el encuentro ficticio entre ella y él en la habitación,  forme parte del inicio de una película que pasan después en una función de Variety.\n\nAl final de la película, la mujer que vestía una calza bajo el jean y llevaba el pelo recogido, ha cambiado por completo su apariencia. Bajo una luz rojiza, que emula los destellos de neón de los carteles XXX, Christine marca un número en el teléfono e increpa a Louie, quien parece no creer todo que esta mujer ahora sabe de él. O dice saber. Su rostro, cargado de confianza se prepara para encararlo, sea de madrugada en una esquina vacía o en sus sueños.','Variety (1993)','','inherit','closed','closed','','1371-revision-v1','','','2020-11-06 17:19:02','2020-11-06 20:19:02','',1371,'http://lapistoladechejov.com/2020/11/06/1371-revision-v1/',0,'revision','',0),(1370,2,'2020-11-05 08:22:47','2020-11-05 11:22:47','<span style=\"font-weight: 400;\">Antes muerto que sencillo, que derrotado, que injuriado. </span><b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> es un colectivo de realizadores de cine experimental y documental atravesado por la urgencia de intervenir el presente a través de imágenes y sonidos que dialogan con la realidad caótica y confusa. Su cine, pulsante e inquieto, se enfrenta a un mundo donde las imágenes en movimiento han acaparado cada ámbito de la vida cotidiana, como una manera de representar y representarse, desde una inquietud que parte de lo personal y trasciende lo público y político.</span>\n\n<b><i>Caperucita Roja, </i></b><span style=\"font-weight: 400;\">de Tatiana Mazú González, enfrenta tres generaciones de mujeres, entre ellas la directora, su madre y su abuela, bajo la premisa de rescatar las vivencias de la abuela Juliana, quien sobrellevó una vida muy dura en en España en pleno tumulto bélico de la Guerra Civil y la consolidación del franquismo. Tras haber huido de una situación de servidumbre, ella cruzó el mar y se estableció en Buenos Aires, donde aprendió el oficio de costurera.</span>\n\n<span style=\"font-weight: 400;\">En </span><b><i>Caperucita Roja</i></b><span style=\"font-weight: 400;\"> abuela y nieta confeccionan un sobretodo rojo, uno con capucha, como el del cuento, como el que tenía también su mamá alguna vez e incluso ella cuando era jovencita. La abuela ya cruzó el bosque sola, y la nieta habita un presente donde los lobos son otros, igual de hambrientos, pero más grandes, con dientes más filosos y tan peligrosos que acaparan la política y perpetúan el predominio masculino en la sociedad actual. Las grabaciones caseras de un viaje al pueblo natal de Juliana evocan los recuerdos de infancia de Tatiana pero también los de Juliana, al instante preciso en que ella era la niña atemorizada por el lobo. La distancia entre una generación y otra es evidente, pero la película traza las diferencias y las zurce al abarcar dos tiempos y dos miradas en un mismo plano, donde pasado y presente se empapan el uno del otro. Mientras en el televisor de la sala, la marcha de las mujeres acapara las noticias, al fondo de la habitación, un maniquí exhibe el busto del tapado rojo. Del mismo modo, Tatiana y su hermana cantan A las barricadas, himno asociado al anarquismo y sindicalismo español.</span>\n\n<span style=\"font-weight: 400;\">La directora observa a su abuela desde planos fijos mientras ella se tiñe el pelo, mira el televisor o realiza su actividades cotidianas. También contempla los detalles que hacen de su lugar de trabajo, las texturas y colores que adornan su hogar, y la delicadeza con la que teje cada pedazo de tela. Se retira a la intimidad del hogar y sobre estas imágenes deja invadir los recuerdos e historias de su abuela, como si estuviera bordando detalles sobre una vestimenta que pasará a formar parte de su identidad. En retribución, en un gesto de cariño incondicional, emergen sus propios pensamientos que intervienen y marcan un quiebre frente a la voz sumisa y resignada de su abuela en contraposición a la suya embanderada con el movimiento feminista y crítica de la norma capitalista.</span>\n\n<span style=\"font-weight: 400;\">Los libros que lee Juliana se encuentran desgastados por el tiempo, pero ella repite cada palabra como si estuviera recitando un mantra. Pero las nuevas generaciones de mujeres se resisten a aprender las canciones de la abuela y toman las calles con otros cánticos que claman por la legalización del aborto y denuncian la violencia contra las mujeres. Con </span><b><i>Caperucita Roja</i></b><span style=\"font-weight: 400;\">, viva por sobre todo, antes que muerta.</span>\n\n<span style=\"font-weight: 400;\">De un diálogo con el pasado, a escribir una carta para el futuro. </span><b><i>¿Qué hago en este mundo tan visual?, </i></b><span style=\"font-weight: 400;\">de Manuel Embalse, sigue el viaje de Zezé Fassmor desde Buenos Aires a las Cataratas del Iguazú. El artista peruano, quien quedó ciego hace ya varios años, cree que la ciencia y la tecnología médica podrán algún día devolverle la vista, motivo por el cual acumula un registro de fotografías y videos para verlos eventualmente como si él mismo se estuviera enviando una correspondencia sobre sus propios recuerdos ya pasados.</span>\n\n<span style=\"font-weight: 400;\">La inquietud del relato se centra en cómo se conforman las imágenes, qué aspectos sensoriales permanecen latentes y cuáles se diluyen con el correr del tiempo. Zezé cuenta que alguna vez había visto un documental sobre las cataratas y lo describe como una gran lluvia, un manto blanco, brumoso y envolvente. En un mundo tan visual, su relación con las imágenes es del orden auditivo, y las imágenes se construyen con lo que escucha. Mientras ingresa a las redes sociales y teclea con la ayuda de una voz que ilustra cada ítem o botón presente en la pantalla, palabras como estado, emoji, espacio, emoji, teclado, se pronuncian con una velocidad tan rápida que pareciera igualar la prisa del desplazamiento de los dedos, porque él como todos nosotros, accede a las imágenes a través de las manos, como si nuestra relación con el mundo fuera a través de pixeles táctiles.</span>\n\n<b><i>¿Qué hago en este mundo tan visual? </i></b><span style=\"font-weight: 400;\">utiliza un torrente de imágenes digitales, entre ellas las capturadas por Zezé, animaciones, registros en VHS, e imágenes intervenidas por el director que manipula adrede la fotografía oscureciendo o tapando la cámara de modo a aproximarse a la visión inalcanzable de una persona ciega. En la película se establece un vínculo estrecho entre la tecnología y la ceguera de Zezé. Las conversaciones que él mantiene con Siri, la voz del sistema operativo de su celular, son tanto funcionales como reflexivas, porque hay preguntas que escapan el alcance de una búsqueda en un navegador.</span>\n\n<span style=\"font-weight: 400;\">En lo sonoro, el agua conquista la imagen. Los destellos luminosos que cada tanto invaden la pantalla negra suenan como una llovizna que golpea el asfalto a la par que el sonido de la lluvia se funde y entrevera con los clics del teclado de Zezé. A medida que nos aproximamos a las cataratas, los turistas se amontonan en busca del mejor ángulo para tomar una fotografía y capturar un recuerdo. Sus fotografías adquieren sonidos, indicaciones de dónde pararse, a dónde mirar, mientras que Zezé, en silencio, absorbe los sonidos lo más cerca posible. Se deja envolver por la bruma y toma otra fotografía, una con los oídos y con piel, para completar una imagen mental distinta.</span>\n\n<span style=\"font-weight: 400;\">¿Qué imágenes conservamos y cuáles desechamos? Si en </span><b><i>¿Qué hago en este mundo tan visual?</i></b><span style=\"font-weight: 400;\"> Embalse se interroga la forma que intervienen los fenómenos perceptivos en la construcción de la memoria, </span><b><i>Enciclopedia/Catálogo</i></b><span style=\"font-weight: 400;\"> explora desde el otro lado, desde objetos descartados que alguna vez pertenecieron a la historia de alguien pero que ya no forman parte de esa persona. Tras haber encontrado dos rollos anónimos, además de fotografías rotas, diarios y cartas, el director viaja solo por tres meses acompañado de una cámara de Super 8 con un metraje limitado de 15 minutos.</span>\n\n<span style=\"font-weight: 400;\">La restricción impuesta del soporte, algo casi impensable en la era digital, lo obliga a editar antes de filmar, a seleccionar una porción de un todo y ponerlo frente a los límites del cuadro. En este sentido, las imágenes de </span><b><i>Enciclopedia/Catálogo</i></b><span style=\"font-weight: 400;\"> son frenéticas. Hay paneos, zooms violentos y movimientos impulsivos que se dejan arrastrar por esta urgencia de ver, de perdurar frente a la obsolescencia programada y de no convertirse también en basura. Existe además un interés por observar pixeles y pantallas a través de la granulosidad del fílmico. La cámara observa otras cámaras, contempla la relación de las personas con sus extensiones digitales y traza una vía intertemporal entre lo analógico y lo digital.</span>\n\n<span style=\"font-weight: 400;\">Al establecer una analogía entre las imágenes y el caudal del agua de las cataratas del Iguazú o el paso del agua del Canal de Panamá, se contraponen dos ideas, la noción de la abundancia impotente frente al paso minucioso y controlado de la zanja. La acumulación sucede hoy en espacios intangibles como nubes y memorias que desplazaron por completo el soporte físico, pero lo digital es aún más frágil que las imperfecciones del fílmico. </span><b><i>Enciclopedia/Catálogo</i></b><span style=\"font-weight: 400;\"> es un postulado político que también dialoga con un ser humano del futuro, y que denuncia el dominio del estado sobre las imágenes y la potestad del sistema para decidir qué queda en la historia. Antes muerto, que ingenuo.</span>\n\n<span style=\"font-weight: 400;\">De la exaltación, al sosiego. A través de la pantalla de los teléfonos inteligentes, </span><b><i>Emoji, emoji,</i></b><span style=\"font-weight: 400;\"> de Joaquín Maito, encuentra la tranquilidad en imágenes estáticas, donde el tiempo adquiere otro ritmo y pareciera sumergirse en una pecera visual, una cápsula enajenada del movimiento externo, y hasta inadvertida de la posición geográfica del GPS que cada tanto nos recuerda nuestra ubicación física en el mundo.</span>\n\n<span style=\"font-weight: 400;\">En el cortometraje, Maito reposa la mirada en eventos mundanos, una mujer esperando en un piso elevado de un edificio con un paisaje citadino imponente de fondo, los árboles en un parque que se mecen con el viento o un hombre que cruza una rampa cerca de un muelle. En cada plano, espera; medita como si estuviera en un templo. Se deja abstraer por la calma y al hacerlo se tropieza con gestos minúsculos que describen una relación con aquello que luego él denomina caja de cristal. A veces, es un mensaje o una foto que se toma en un gesto casi automático, otras es una bandeja que sirve -momentáneamente- para alimentar a gatos callejeros. El resultado es hipnótico, una suerte de extrañamiento a lo que se añade el murmullo en un idioma extranjero, apenas inteligible, que se funde con los clics del teclado y con el ruido de la naturaleza. </span><b><i>Emoji, emoji </i></b><span style=\"font-weight: 400;\">configura un nuevo lenguaje donde el exterior se percibe (siempre) mediante un marco.</span>\n\n<span style=\"font-weight: 400;\">La reclusión obligada de la pandemia nos obliga a reinventar las formas de vivir, de trabajar y de relacionarnos. </span><b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> no es ajeno a esta sensación extraña, tanto imprevisible como inestable. </span><b><i>Estratos,</i></b><span style=\"font-weight: 400;\"> de Julián Galay, propone encontrar la relación entre las construcciones con la proliferación del virus. Para hacerlo, navega a través de la pantalla por ilustraciones escaneadas de un libro de arquitectura, trazando con el cursor los caminos posibles que podría tomar el virus a través de las estructuras erigidas por el ser humano.</span>\n\n<span style=\"font-weight: 400;\">Las palabras del libro encontrado poco importan. </span><b><i>Estratos </i></b><span style=\"font-weight: 400;\">distingue en cada línea de los bocetos impresos un trazo que no solo es un muro, sino una barrera que moldea y direcciona el flujo de las personas y que a la vez separa el uno del otro, delimitando las clases sociales y evidenciando la diferencias. Mediante una porción amplificada de cada página, se hace zoom en cada pixel que conforma una raya, como si estuviera examinando el armazón de la humanidad mediante un microscopio. La indagación es de carácter científico; así como los detalles se agrandan, las imágenes se manipulan, se invierten los colores y se emula la textura azulada del cianotipo en la búsqueda minuciosa de cualquier detalle que pudiera explicar la facilidad de la propagación de los virus.</span>\n\n<span style=\"font-weight: 400;\">Sobre estas imágenes digitales, ampliadas al punto en que se reducen a pixeles de colores, emerge un manifiesto que condena las infraestructuras sobre las cuales se erigieron los grandes imperios, y que, con el tiempo, condujeron a la consolidación del actual sistema económico de producción. Según Galay, la restricción del espacio es la misma causa de la propagación del virus; si la movilidad ocurre en espacios físicos, no es sorpresa entonces que aquellos lugares donde confluyen vías terrestres, aéreas y marítimas se hayan convertido en los lugares de mayor contagio. Antes muerto, que un simple soporte biológico.</span>\n\n<span style=\"font-weight: 400;\">Los espacios que habitamos son parte de nuestra identidad, del mismo modo en que el tiempo nos cobija, nos modela y nos desgasta. </span><b><i>Agur, </i></b><span style=\"font-weight: 400;\">de Francisco Bouzas, conecta un sitio con otro, su traslado a otro país con la repentina ausencia de un conocido suyo que un día como cualquier otro, sumido en una profunda depresión, desaparece sin dejar rastro alguno. El relato inicia con un manojo de cartas acumuladas en el buzón de un departamento en Donostia, espacio que él mismo pasa a ocupar pero que antes pertenecían al destinatario de esas correspondencias, un hombre llamado Jesús. Con una voz en off Bouzas cuenta que a los tres días de haber ingresado a su nuevo hogar recibe un audio que relata los pormenores de los hechos en torno a la desaparición de Daniel. Por la misma fecha, al firmar el contrato de alquiler se entera que Jesús murió hace poco tiempo.</span>\n\n<span style=\"font-weight: 400;\">En </span><b><i>Agur </i></b><span style=\"font-weight: 400;\">las personas están ausentes físicamente, pero presentes en los espacios deshabitados, en los objetos encontrados y en las notas de voz que irrumpen el silencio del departamento. De la misma manera, la presencia del director permanece en un fuera de campo permanente, de imágenes estáticas de lugares vacíos y escenarios desolados sobre los cuales el sonido ambiente hace resonar sus movimientos; el chasquido de un encendedor o el crujir de una puerta que se abre recuerda su existencia en la imagen.</span>\n\n<span style=\"font-weight: 400;\">El cortometraje traza una relación entre las personas, el tiempo, y los espacios. A través de paneos lentos y medidos, </span><b><i>Agur </i></b><span style=\"font-weight: 400;\">revela en la ilustración de un paisaje marítimo a un pescador solitario, su existencia en los marcos de la imagen recortada, y mismo objeto abandonado en la habitación de un departamento. También realiza el viaje opuesto, de arriba hacia abajo: parte de una vista del mar que desciende y reposa la mirada sobre un cementerio al que acuden personas para rememorar los fallecidos. El reloj de la cocina puede estar detenido, pero las huellas de una vida perduran más que solo en el tiempo.</span>\n\n<b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> se enfrenta al mundo con dudas. Las enuncia, las contesta, y las vuelve a enunciar, receloso hasta de sus propios planteamientos y respuestas. Esta conmoción se traduce en miradas que indagan sobre experiencias personales, el encuentro de un objeto, la relación con un miembro de la familia, o el vínculo entre ser humano y tecnología. En su cine, es posible percibir una estrecha relación entre uno y su entorno, como si fuera inconcebible que el mismo relato partiera de un lugar que no es el de elles.</span>\n\n<span style=\"font-weight: 400;\">El colectivo palpita como grupo. Cada creación audiovisual está embebida de una sensación común, de la urgencia de rebuscar y hurgar imágenes y sonidos en un sinfín de registros posibles, desde ilustraciones digitales y pixeles a registros analógicos y fotografías encontradas, todo aquello que posibilite comprender qué hacemos en este mundo tan quebradizo y aturdido. En sus películas y cortometrajes, las ideas se entrelazan y se atraviesan; en las cataratas, el mar; en el encierro, las conversaciones; y en los celulares, los clics que se asemejan a gotas de lluvia. </span><b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> se replantea los sentidos. Se ve con los oídos, y se escucha en las imágenes. Sabe que tiene una historia y un pasado, y que su tiempo es ahora porque hoy es demasiado tarde. Celebra la belleza de lo cotidiano, de una confesión en la oscuridad o el calor del sol que pega sobre el rostro, con el mismo ímpetu que se desvela frente al futuro donde quizás la humanidad no exista más, o sea otra muy distinta. Porque antes de morir, vivo.</span>\n\n<span style=\"font-weight: 400;\">-----</span>\n\n<b>FILMOGRAFÍA DE ESTE COLECTIVO ARTÍSTICO</b>\n\n<b><i>Caperucita Roja. </i></b><span style=\"font-weight: 400;\">Tatiana Mazú González</span><span style=\"font-weight: 400;\">. 2019.</span>\n\n<b><i>¿Qué hago en este mundo tan visual?.</i></b><span style=\"font-weight: 400;\"> Manuel Embalse. 2020.</span>\n\n<b><i>Emoji, emoji. </i></b><span style=\"font-weight: 400;\">Joaquín Maito. 2019.</span>\n\n<b><i>Enciclopedia Catálogo. </i></b><span style=\"font-weight: 400;\">Manuel Embalse. 2020. </span>\n\n<b><i>Estratos. </i></b><span style=\"font-weight: 400;\">Julián Galay. 2020.</span>\n\n<b><i>Agur. </i></b><span style=\"font-weight: 400;\">Francisco Bouzas. 2020. </span>\n\n<b>INTEGRANTES DEL COLECTIVO</b>\n\n<span style=\"font-weight: 400;\">Joaquín Maito, Buenos Aires, 1987. Se dedica a las artes visuales y a la realización de cine de no ficción. Codirigió junto a Tatiana Mazú González, \"El estado de las cosas\" (2012). Su ópera prima \"Retrato de Propietarios\" (2018) fue premiada en Ji.hlava IDFF.</span>\n\n<span style=\"font-weight: 400;\">Tatiana Mazú González, Buenos Aires, 1989. Es realizadora documental y artista visual. Con su cortometraje \"La Internacional\" (2015) y sus largometrajes \"El estado de las cosas\" (2012, codirigido con Joaquín Maito), \"Caperucita roja\" (2019) y \"Río Turbio\" (2020) ha participado de FID Marseille, Mar del Plata IFF, Festifreak, Transcinema, FICUNAM, Cinélatino Toulouse, DocLisboa, FIDOCS, entre otros.</span>\n\n<span style=\"font-weight: 400;\">Manuel Embalse, Buenos Aires, 1991. Construye y destruye imágenes de todas las formas posibles. Editó junto a Tatiana Mazú González \"Retrato de propietarios\" de Joaquín Maito, y es asistente de dirección de \"Río Turbio\" de Tatiana Mazú González. Su ópera prima \"¿Qué hago en este mundo tan visual?\" es parte de la selección de Festifreak, Cámara Lúcida y Corriente No Ficción.   </span>\n\n<span style=\"font-weight: 400;\">Francisco Bouzas, Rio de Janeiro, 1989. Formado en la EQZE, se dedica al cine y a sus formas expansivas. Hace 10 años que realiza sus películas con el mismo grupo de jóvenes del barrio Ciudad Oculta. Su ópera prima \"La cuarta dimensión\" fue estrenada y premiada en BAFICI. \"Agur\" y \"Todo lo cercano se aleja\" son sus películas más recientes.</span>\n\n<span style=\"font-weight: 400;\">Julián Galay, Buenos Aires, 1988. Compositor que trabaja con el sonido, el lenguaje y la imagen en movimiento a través de instalación performance y cine experimental. Sus obras fueron presentadas en Suiza, Alemania, Brasil, Uruguay y Argentina.</span>\n<h6><span style=\"color: #808080;\">Este ensayo se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/2020/11/03/por-un-cine-vivo-y-urgente-sobre-el-colectivo-artistico-antes-muerto-cine/\">Taller de Crítica de Otros Cines</a></span></h6>','Por un cine vivo y urgente (sobre el colectivo artístico Antes Muerto Cine)','','inherit','closed','closed','','1368-revision-v1','','','2020-11-05 08:22:47','2020-11-05 11:22:47','',1368,'http://lapistoladechejov.com/2020/11/05/1368-revision-v1/',0,'revision','',0),(1368,2,'2020-11-05 08:24:58','2020-11-05 11:24:58','<span style=\"font-weight: 400;\">Antes muerto que sencillo, que derrotado, que injuriado. </span><b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> es un colectivo de realizadores de cine experimental y documental atravesado por la urgencia de intervenir el presente a través de imágenes y sonidos que dialogan con la realidad caótica y confusa. Su cine, pulsante e inquieto, se enfrenta a un mundo donde las imágenes en movimiento han acaparado cada ámbito de la vida cotidiana, como una manera de representar y representarse, desde una inquietud que parte de lo personal y trasciende lo público y político.</span>\n\n<b><i>Caperucita Roja, </i></b><span style=\"font-weight: 400;\">de Tatiana Mazú González, enfrenta tres generaciones de mujeres, entre ellas la directora, su madre y su abuela, bajo la premisa de rescatar las vivencias de la abuela Juliana, quien sobrellevó una vida muy dura en en España en pleno tumulto bélico de la Guerra Civil y la consolidación del franquismo. Tras haber huido de una situación de servidumbre, ella cruzó el mar y se estableció en Buenos Aires, donde aprendió el oficio de costurera.</span>\n\n<span style=\"font-weight: 400;\">En </span><b><i>Caperucita Roja</i></b><span style=\"font-weight: 400;\"> abuela y nieta confeccionan un sobretodo rojo, uno con capucha, como el del cuento, como el que tenía también su mamá alguna vez e incluso ella cuando era jovencita. La abuela ya cruzó el bosque sola, y la nieta habita un presente donde los lobos son otros, igual de hambrientos, pero más grandes, con dientes más filosos y tan peligrosos que acaparan la política y perpetúan el predominio masculino en la sociedad actual. Las grabaciones caseras de un viaje al pueblo natal de Juliana evocan los recuerdos de infancia de Tatiana pero también los de Juliana, al instante preciso en que ella era la niña atemorizada por el lobo. La distancia entre una generación y otra es evidente, pero la película traza las diferencias y las zurce al abarcar dos tiempos y dos miradas en un mismo plano, donde pasado y presente se empapan el uno del otro. Mientras en el televisor de la sala, la marcha de las mujeres acapara las noticias, al fondo de la habitación, un maniquí exhibe el busto del tapado rojo. Del mismo modo, Tatiana y su hermana cantan A las barricadas, himno asociado al anarquismo y sindicalismo español.</span>\n\n<span style=\"font-weight: 400;\">La directora observa a su abuela desde planos fijos mientras ella se tiñe el pelo, mira el televisor o realiza su actividades cotidianas. También contempla los detalles que hacen de su lugar de trabajo, las texturas y colores que adornan su hogar, y la delicadeza con la que teje cada pedazo de tela. Se retira a la intimidad del hogar y sobre estas imágenes deja invadir los recuerdos e historias de su abuela, como si estuviera bordando detalles sobre una vestimenta que pasará a formar parte de su identidad. En retribución, en un gesto de cariño incondicional, emergen sus propios pensamientos que intervienen y marcan un quiebre frente a la voz sumisa y resignada de su abuela en contraposición a la suya embanderada con el movimiento feminista y crítica de la norma capitalista.</span>\n\n<span style=\"font-weight: 400;\">Los libros que lee Juliana se encuentran desgastados por el tiempo, pero ella repite cada palabra como si estuviera recitando un mantra. Pero las nuevas generaciones de mujeres se resisten a aprender las canciones de la abuela y toman las calles con otros cánticos que claman por la legalización del aborto y denuncian la violencia contra las mujeres. Con </span><b><i>Caperucita Roja</i></b><span style=\"font-weight: 400;\">, viva por sobre todo, antes que muerta.</span>\n\n<span style=\"font-weight: 400;\">De un diálogo con el pasado, a escribir una carta para el futuro. </span><b><i>¿Qué hago en este mundo tan visual?, </i></b><span style=\"font-weight: 400;\">de Manuel Embalse, sigue el viaje de Zezé Fassmor desde Buenos Aires a las Cataratas del Iguazú. El artista peruano, quien quedó ciego hace ya varios años, cree que la ciencia y la tecnología médica podrán algún día devolverle la vista, motivo por el cual acumula un registro de fotografías y videos para verlos eventualmente como si él mismo se estuviera enviando una correspondencia sobre sus propios recuerdos ya pasados.</span>\n\n<span style=\"font-weight: 400;\">La inquietud del relato se centra en cómo se conforman las imágenes, qué aspectos sensoriales permanecen latentes y cuáles se diluyen con el correr del tiempo. Zezé cuenta que alguna vez había visto un documental sobre las cataratas y lo describe como una gran lluvia, un manto blanco, brumoso y envolvente. En un mundo tan visual, su relación con las imágenes es del orden auditivo, y las imágenes se construyen con lo que escucha. Mientras ingresa a las redes sociales y teclea con la ayuda de una voz que ilustra cada ítem o botón presente en la pantalla, palabras como estado, emoji, espacio, emoji, teclado, se pronuncian con una velocidad tan rápida que pareciera igualar la prisa del desplazamiento de los dedos, porque él como todos nosotros, accede a las imágenes a través de las manos, como si nuestra relación con el mundo fuera a través de pixeles táctiles.</span>\n\n<b><i>¿Qué hago en este mundo tan visual? </i></b><span style=\"font-weight: 400;\">utiliza un torrente de imágenes digitales, entre ellas las capturadas por Zezé, animaciones, registros en VHS, e imágenes intervenidas por el director que manipula adrede la fotografía oscureciendo o tapando la cámara de modo a aproximarse a la visión inalcanzable de una persona ciega. En la película se establece un vínculo estrecho entre la tecnología y la ceguera de Zezé. Las conversaciones que él mantiene con Siri, la voz del sistema operativo de su celular, son tanto funcionales como reflexivas, porque hay preguntas que escapan el alcance de una búsqueda en un navegador.</span>\n\n<span style=\"font-weight: 400;\">En lo sonoro, el agua conquista la imagen. Los destellos luminosos que cada tanto invaden la pantalla negra suenan como una llovizna que golpea el asfalto a la par que el sonido de la lluvia se funde y entrevera con los clics del teclado de Zezé. A medida que nos aproximamos a las cataratas, los turistas se amontonan en busca del mejor ángulo para tomar una fotografía y capturar un recuerdo. Sus fotografías adquieren sonidos, indicaciones de dónde pararse, a dónde mirar, mientras que Zezé, en silencio, absorbe los sonidos lo más cerca posible. Se deja envolver por la bruma y toma otra fotografía, una con los oídos y con piel, para completar una imagen mental distinta.</span>\n\n<span style=\"font-weight: 400;\">¿Qué imágenes conservamos y cuáles desechamos? Si en </span><b><i>¿Qué hago en este mundo tan visual?</i></b><span style=\"font-weight: 400;\"> Embalse se interroga la forma que intervienen los fenómenos perceptivos en la construcción de la memoria, </span><b><i>Enciclopedia/Catálogo</i></b><span style=\"font-weight: 400;\"> explora desde el otro lado, desde objetos descartados que alguna vez pertenecieron a la historia de alguien pero que ya no forman parte de esa persona. Tras haber encontrado dos rollos anónimos, además de fotografías rotas, diarios y cartas, el director viaja solo por tres meses acompañado de una cámara de Super 8 con un metraje limitado de 15 minutos.</span>\n\n<span style=\"font-weight: 400;\">La restricción impuesta del soporte, algo casi impensable en la era digital, lo obliga a editar antes de filmar, a seleccionar una porción de un todo y ponerlo frente a los límites del cuadro. En este sentido, las imágenes de </span><b><i>Enciclopedia/Catálogo</i></b><span style=\"font-weight: 400;\"> son frenéticas. Hay paneos, zooms violentos y movimientos impulsivos que se dejan arrastrar por esta urgencia de ver, de perdurar frente a la obsolescencia programada y de no convertirse también en basura. Existe además un interés por observar pixeles y pantallas a través de la granulosidad del fílmico. La cámara observa otras cámaras, contempla la relación de las personas con sus extensiones digitales y traza una vía intertemporal entre lo analógico y lo digital.</span>\n\n<span style=\"font-weight: 400;\">Al establecer una analogía entre las imágenes y el caudal del agua de las cataratas del Iguazú o el paso del agua del Canal de Panamá, se contraponen dos ideas, la noción de la abundancia impotente frente al paso minucioso y controlado de la zanja. La acumulación sucede hoy en espacios intangibles como nubes y memorias que desplazaron por completo el soporte físico, pero lo digital es aún más frágil que las imperfecciones del fílmico. </span><b><i>Enciclopedia/Catálogo</i></b><span style=\"font-weight: 400;\"> es un postulado político que también dialoga con un ser humano del futuro, y que denuncia el dominio del estado sobre las imágenes y la potestad del sistema para decidir qué queda en la historia. Antes muerto, que ingenuo.</span>\n\n<span style=\"font-weight: 400;\">De la exaltación, al sosiego. A través de la pantalla de los teléfonos inteligentes, </span><b><i>Emoji, emoji,</i></b><span style=\"font-weight: 400;\"> de Joaquín Maito, encuentra la tranquilidad en imágenes estáticas, donde el tiempo adquiere otro ritmo y pareciera sumergirse en una pecera visual, una cápsula enajenada del movimiento externo, y hasta inadvertida de la posición geográfica del GPS que cada tanto nos recuerda nuestra ubicación física en el mundo.</span>\n\n<span style=\"font-weight: 400;\">En el cortometraje, Maito reposa la mirada en eventos mundanos, una mujer esperando en un piso elevado de un edificio con un paisaje citadino imponente de fondo, los árboles en un parque que se mecen con el viento o un hombre que cruza una rampa cerca de un muelle. En cada plano, espera; medita como si estuviera en un templo. Se deja abstraer por la calma y al hacerlo se tropieza con gestos minúsculos que describen una relación con aquello que luego él denomina caja de cristal. A veces, es un mensaje o una foto que se toma en un gesto casi automático, otras es una bandeja que sirve -momentáneamente- para alimentar a gatos callejeros. El resultado es hipnótico, una suerte de extrañamiento a lo que se añade el murmullo en un idioma extranjero, apenas inteligible, que se funde con los clics del teclado y con el ruido de la naturaleza. </span><b><i>Emoji, emoji </i></b><span style=\"font-weight: 400;\">configura un nuevo lenguaje donde el exterior se percibe (siempre) mediante un marco.</span>\n\n<span style=\"font-weight: 400;\">La reclusión obligada de la pandemia nos obliga a reinventar las formas de vivir, de trabajar y de relacionarnos. </span><b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> no es ajeno a esta sensación extraña, tanto imprevisible como inestable. </span><b><i>Estratos,</i></b><span style=\"font-weight: 400;\"> de Julián Galay, propone encontrar la relación entre las construcciones con la proliferación del virus. Para hacerlo, navega a través de la pantalla por ilustraciones escaneadas de un libro de arquitectura, trazando con el cursor los caminos posibles que podría tomar el virus a través de las estructuras erigidas por el ser humano.</span>\n\n<span style=\"font-weight: 400;\">Las palabras del libro encontrado poco importan. </span><b><i>Estratos </i></b><span style=\"font-weight: 400;\">distingue en cada línea de los bocetos impresos un trazo que no solo es un muro, sino una barrera que moldea y direcciona el flujo de las personas y que a la vez separa el uno del otro, delimitando las clases sociales y evidenciando la diferencias. Mediante una porción amplificada de cada página, se hace zoom en cada pixel que conforma una raya, como si estuviera examinando el armazón de la humanidad mediante un microscopio. La indagación es de carácter científico; así como los detalles se agrandan, las imágenes se manipulan, se invierten los colores y se emula la textura azulada del cianotipo en la búsqueda minuciosa de cualquier detalle que pudiera explicar la facilidad de la propagación de los virus.</span>\n\n<span style=\"font-weight: 400;\">Sobre estas imágenes digitales, ampliadas al punto en que se reducen a pixeles de colores, emerge un manifiesto que condena las infraestructuras sobre las cuales se erigieron los grandes imperios, y que, con el tiempo, condujeron a la consolidación del actual sistema económico de producción. Según Galay, la restricción del espacio es la misma causa de la propagación del virus; si la movilidad ocurre en espacios físicos, no es sorpresa entonces que aquellos lugares donde confluyen vías terrestres, aéreas y marítimas se hayan convertido en los lugares de mayor contagio. Antes muerto, que un simple soporte biológico.</span>\n\n<span style=\"font-weight: 400;\">Los espacios que habitamos son parte de nuestra identidad, del mismo modo en que el tiempo nos cobija, nos modela y nos desgasta. </span><b><i>Agur, </i></b><span style=\"font-weight: 400;\">de Francisco Bouzas, conecta un sitio con otro, su traslado a otro país con la repentina ausencia de un conocido suyo que un día como cualquier otro, sumido en una profunda depresión, desaparece sin dejar rastro alguno. El relato inicia con un manojo de cartas acumuladas en el buzón de un departamento en Donostia, espacio que él mismo pasa a ocupar pero que antes pertenecían al destinatario de esas correspondencias, un hombre llamado Jesús. Con una voz en off Bouzas cuenta que a los tres días de haber ingresado a su nuevo hogar recibe un audio que relata los pormenores de los hechos en torno a la desaparición de Daniel. Por la misma fecha, al firmar el contrato de alquiler se entera que Jesús murió hace poco tiempo.</span>\n\n<span style=\"font-weight: 400;\">En </span><b><i>Agur </i></b><span style=\"font-weight: 400;\">las personas están ausentes físicamente, pero presentes en los espacios deshabitados, en los objetos encontrados y en las notas de voz que irrumpen el silencio del departamento. De la misma manera, la presencia del director permanece en un fuera de campo permanente, de imágenes estáticas de lugares vacíos y escenarios desolados sobre los cuales el sonido ambiente hace resonar sus movimientos; el chasquido de un encendedor o el crujir de una puerta que se abre recuerda su existencia en la imagen.</span>\n\n<span style=\"font-weight: 400;\">El cortometraje traza una relación entre las personas, el tiempo, y los espacios. A través de paneos lentos y medidos, </span><b><i>Agur </i></b><span style=\"font-weight: 400;\">revela en la ilustración de un paisaje marítimo a un pescador solitario, su existencia en los marcos de la imagen recortada, y mismo objeto abandonado en la habitación de un departamento. También realiza el viaje opuesto, de arriba hacia abajo: parte de una vista del mar que desciende y reposa la mirada sobre un cementerio al que acuden personas para rememorar los fallecidos. El reloj de la cocina puede estar detenido, pero las huellas de una vida perduran más que solo en el tiempo.</span>\n\n<b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> se enfrenta al mundo con dudas. Las enuncia, las contesta, y las vuelve a enunciar, receloso hasta de sus propios planteamientos y respuestas. Esta conmoción se traduce en miradas que indagan sobre experiencias personales, el encuentro de un objeto, la relación con un miembro de la familia, o el vínculo entre ser humano y tecnología. En su cine, es posible percibir una estrecha relación entre uno y su entorno, como si fuera inconcebible que el mismo relato partiera de un lugar que no es el de elles.</span>\n\n<span style=\"font-weight: 400;\">El colectivo palpita como grupo. Cada creación audiovisual está embebida de una sensación común, de la urgencia de rebuscar y hurgar imágenes y sonidos en un sinfín de registros posibles, desde ilustraciones digitales y pixeles a registros analógicos y fotografías encontradas, todo aquello que posibilite comprender qué hacemos en este mundo tan quebradizo y aturdido. En sus películas y cortometrajes, las ideas se entrelazan y se atraviesan; en las cataratas, el mar; en el encierro, las conversaciones; y en los celulares, los clics que se asemejan a gotas de lluvia. </span><b>Antes Muerto Cine</b><span style=\"font-weight: 400;\"> se replantea los sentidos. Se ve con los oídos, y se escucha en las imágenes. Sabe que tiene una historia y un pasado, y que su tiempo es ahora porque hoy es demasiado tarde. Celebra la belleza de lo cotidiano, de una confesión en la oscuridad o el calor del sol que pega sobre el rostro, con el mismo ímpetu que se desvela frente al futuro donde quizás la humanidad no exista más, o sea otra muy distinta. Porque antes de morir, vivo.</span>\n\n<span style=\"font-weight: 400;\">-----</span>\n\n<b>FILMOGRAFÍA DE ESTE COLECTIVO ARTÍSTICO</b>\n\n<b><i>Caperucita Roja. </i></b><span style=\"font-weight: 400;\">Tatiana Mazú González</span><span style=\"font-weight: 400;\">. 2019.</span>\n\n<b><i>¿Qué hago en este mundo tan visual?.</i></b><span style=\"font-weight: 400;\"> Manuel Embalse. 2020.</span>\n\n<b><i>Emoji, emoji. </i></b><span style=\"font-weight: 400;\">Joaquín Maito. 2019.</span>\n\n<b><i>Enciclopedia Catálogo. </i></b><span style=\"font-weight: 400;\">Manuel Embalse. 2020. </span>\n\n<b><i>Estratos. </i></b><span style=\"font-weight: 400;\">Julián Galay. 2020.</span>\n\n<b><i>Agur. </i></b><span style=\"font-weight: 400;\">Francisco Bouzas. 2020. </span>\n\n<b>INTEGRANTES DEL COLECTIVO</b>\n\n<span style=\"font-weight: 400;\">Joaquín Maito, Buenos Aires, 1987. Se dedica a las artes visuales y a la realización de cine de no ficción. Codirigió junto a Tatiana Mazú González, \"El estado de las cosas\" (2012). Su ópera prima \"Retrato de Propietarios\" (2018) fue premiada en Ji.hlava IDFF.</span>\n\n<span style=\"font-weight: 400;\">Tatiana Mazú González, Buenos Aires, 1989. Es realizadora documental y artista visual. Con su cortometraje \"La Internacional\" (2015) y sus largometrajes \"El estado de las cosas\" (2012, codirigido con Joaquín Maito), \"Caperucita roja\" (2019) y \"Río Turbio\" (2020) ha participado de FID Marseille, Mar del Plata IFF, Festifreak, Transcinema, FICUNAM, Cinélatino Toulouse, DocLisboa, FIDOCS, entre otros.</span>\n\n<span style=\"font-weight: 400;\">Manuel Embalse, Buenos Aires, 1991. Construye y destruye imágenes de todas las formas posibles. Editó junto a Tatiana Mazú González \"Retrato de propietarios\" de Joaquín Maito, y es asistente de dirección de \"Río Turbio\" de Tatiana Mazú González. Su ópera prima \"¿Qué hago en este mundo tan visual?\" es parte de la selección de Festifreak, Cámara Lúcida y Corriente No Ficción.   </span>\n\n<span style=\"font-weight: 400;\">Francisco Bouzas, Rio de Janeiro, 1989. Formado en la EQZE, se dedica al cine y a sus formas expansivas. Hace 10 años que realiza sus películas con el mismo grupo de jóvenes del barrio Ciudad Oculta. Su ópera prima \"La cuarta dimensión\" fue estrenada y premiada en BAFICI. \"Agur\" y \"Todo lo cercano se aleja\" son sus películas más recientes.</span>\n\n<span style=\"font-weight: 400;\">Julián Galay, Buenos Aires, 1988. Compositor que trabaja con el sonido, el lenguaje y la imagen en movimiento a través de instalación performance y cine experimental. Sus obras fueron presentadas en Suiza, Alemania, Brasil, Uruguay y Argentina.</span>\n<h6><span style=\"color: #808080;\">Este ensayo se publicó previamente en el sitio de <a href=\"https://tallercritica.wordpress.com/2020/11/03/por-un-cine-vivo-y-urgente-sobre-el-colectivo-artistico-antes-muerto-cine/\">Taller de Crítica de Otros Cines</a></span></h6>','Por un cine vivo y urgente (sobre el colectivo artístico Antes Muerto Cine)','','publish','open','open','','por-un-cine-vivo-y-urgente-sobre-el-colectivo-artistico-antes-muerto-cine','','\nhttps://tallercritica.wordpress.com/2020/11/03/por-un-cine-vivo-y-urgente-sobre-el-colectivo-artistico-antes-muerto-cine/','2020-11-05 08:25:04','2020-11-05 11:25:04','',0,'http://lapistoladechejov.com/?p=1368',0,'post','',0),(1369,2,'2020-11-05 08:19:11','2020-11-05 11:19:11','antes muerto','frame-2_1600','','inherit','open','closed','','frame-2_1600','','','2020-11-05 08:20:54','2020-11-05 11:20:54','',1368,'http://lapistoladechejov.com/wp-content/uploads/2020/11/frame-2_1600.png',0,'attachment','image/png',0),(1365,2,'2020-10-20 12:56:45','2020-10-20 15:56:45','Fango','fango 1','','inherit','open','closed','','fango-1','','','2020-10-20 12:56:57','2020-10-20 15:56:57','',1364,'http://lapistoladechejov.com/wp-content/uploads/2020/10/fango-1.jpg',0,'attachment','image/jpeg',0),(1366,2,'2020-10-20 12:57:01','2020-10-20 15:57:01','<h2>La belleza de la emancipación estética.</h2>\nEn <strong><em>Fango</em></strong> El Brujo y El Indio quieren formar una banda de tango <em>trash</em>. Para hacerlo, recorren las calles del conurbano bonaerense en busca de posibles músicos que integren la banda. Necesitan un violinista, un baterista y alguien que toque el bandoneón para completar aquella fusión peculiar entre un género popular y la agresividad elevada del heavy metal. También existe otra línea argumental que se teje bajo esta primera, el secuestro de la esposa de El Brujo en manos de una matona recién salida de la cárcel que eventualmente desata un enfrentamiento violento. Antes de precipitarnos en la historia, resulta pertinente ilustrar ciertos aspectos formales de la película.\n\n<strong><em>Fango</em></strong> se desplaza por los escenarios suburbanos de viviendas precarias y caminos de tierra. La cámara en mano, desenvuelta y emancipada de cualquier búsqueda estética, sigue los andares de sus personajes que se mueven a pie o carreta. Ante la sospecha de que su marido le es infiel, una mujer acude a su prima Nadia para que le envíe un mensaje de alerta a la amante, quien no es otra que Beatriz, la esposa de El Brujo. Cuando la amenaza no funciona, Nadia no ve mejor solución que secuestrarla indefinidamente a sabiendas que dicho acto no podrá ser mantenido en secreto. La distancia que los personajes trazan en sus movimientos ilustra lo cerca que viven uno del otro, y el problema que esto supone. Dicho de otro modo, la información viaja de una cuadra a la otra tan pronto uno cruza la vereda de la misma manera que Beatriz está tan cerca de la casa de su amante como de la de Nadia y la suya. Es así como un transeúnte presenció el momento en que Beatriz fue agredida por Nadia y pudo informarle a Pablo, el amigo del hijo de Beatriz, a quien recurre El Brujo para encontrar a su esposa desaparecida.\n\nLos espacios interiores de <strong><em>Fango </em></strong>irradian autenticidad; ningún objeto revela su impertinencia ficcionada en la puesta en escena, sino que sugiere que estos lugares existen así tal cual se muestran, con sus escombros y suciedad impregnada, y esto los dota de una belleza genuina. En contrapartida, sus personajes declaman las líneas de diálogo con mínima entonación, o bien lo suficiente como para que se entienda lo que dicen, pero sin la exageración emocional que contaminaría con artificialidad sus actuaciones. Un saludo se dice con la misma rigidez con la que se cuenta una pérdida o con la que se termina una amistad de varios años. La cámara logra captar aquellos rasgos que no pueden ser fingidos, como el modo de hablar, la jerga, los gestos y los movimientos que define el carácter de cada persona que habita el cuadro, porque ellos, como sus viviendas, también existen fuera de <strong><em>Fango</em></strong>. Existen antes y después de la película.\n\nEn <strong><em>Fango</em></strong> se van hilando uniones entre los personajes que son tan circunstanciales como determinantes, y que a la vez embarran cualquier posibilidad de una resolución pacífica. La mera presencia del mejor amigo de Nadia en la casa de Pablo es un gesto que dilucida la causa a la cual uno se adhiere, porque se está con uno o con el otro, pero no se puede estar con ambos. La privacidad encuentra un limbo en aquellos espacios intermedios donde los personajes entran o salen de un lugar: la vereda, la antesala donde los saludos y las despedidas moldean los límites de relación incluso antes de que entablen conversación. Hay personajes que exigen una inspección previa al encuentro, o requieren contar con el aval del otro para hablar, y otros cuya presencia repentina es una sorpresa no bien recibida que genera conflicto. En estos espacios, un problema doméstico se torna en una disputa pública entre los que buscan a Beatriz y las que la esconden; lo que había iniciado como un mensaje de alerta y un problema matrimonial adquiere proporciones comunales cuando las infinitas intimidaciones no surten efecto. Para Nadia, la supuesta pérdida de su prima a causa de la angustia ocasionada por la infidelidad de su marido es imperdonable y la culpable directa de esta desgracia es la amante, y para Pablo que controla a su antojo quien transita por sus calles, esos detalles carecen de importancia cuando lo que le preocupa es ayudar a la madre de su amigo, por más que éstos ya ni se hablen. A medida que se acerca la fecha del concierto de Fango, además de la banda musical cada grupo ha tejido una red importante de allegados donde el objetivo final queda borroneado; solo resta pararse de un lado o del otro o bien dar un paso al costado y asumir por siempre la etiqueta de cobardía. Las amenazas verbales son reemplazadas por cuchillos y palos, y cuando éstos pierden su filo, por armas de fuego de construcción artesanal.\n\nLa violencia en <strong><em>Fango </em></strong>ocurre a plena luz del día y a plena vista, tal como todas las escenas de la película transcurren también de día. En estos barrios no es necesario el amparo de la oscuridad para cometer actos delictivos ni escabullirse en la propiedad de otro para matar a alguien, porque en los márgenes de la ciudad la ley es otra. La violencia se hace presente en todas las dimensiones sociales, desde la violencia de género y familiar, al dominio territorial. En este sentido, el tratamiento visual que adquieren los asesinatos es tan frontal como crudo. La piel se degolla, la sangre brota de la frente, y la carne explota al recibir los disparos; transitar estos lugares es enfrentarse a esta violencia.\n\nJosé Celestino Campusano es un director que anula los límites de la ficción y propone un relato reacio a cualquier parámetro estético o narrativo. La narración y la concepción de las imágenes parte desde una construcción colectiva e inmiscuida en el entorno periférico en el cual se sitúa. En su cine el guión no se escribe, se filma y se expande a través de las voces de la comunidad porque el interés de Campusano recae en captar aquello que hace único a una persona y a un grupo de personas. Sería ingenuo pretender que aquí los finales felices existen, tan solo son momentáneos ajustes de cuenta.','Fango (2012)','','inherit','closed','closed','','1364-revision-v1','','','2020-10-20 12:57:01','2020-10-20 15:57:01','',1364,'http://lapistoladechejov.com/2020/10/20/1364-revision-v1/',0,'revision','',0),(1363,2,'2020-10-20 12:39:30','2020-10-20 15:39:30','<h2>El negocio más esperado.</h2>\nMac, un empleado de una compañía petrolífera, es enviado a un pueblito de Escocia para adquirir una gran extensión de tierra. El negocio es bastante simple: llegar, concretar y cerrar el trato. Sus trajes bien planchados y su oficina situada en la cima de un rascacielos no hacen más que evidenciar un carácter pretencioso que rige las actitudes de su entorno laboral y quizás de la clase joven media-alta a la que pertenece, aquella ansiosa por aumentar sus ingresos sin saber siquiera en qué gastarlo. Mac proyecta una imagen de hombre exitoso y adinerado, pero está tan solo que es incapaz de conseguir compañía el día antes de su viaje. A lo largo de <strong><em>Local hero</em></strong> la codicia será erosionada por las maravillas naturales del pueblo costero dejando visible la fragilidad de la soledad que lo acobija.\n\nLa llegada del americano a Ferness, el pueblito escocés, encuentra a dos personajes distintos en apariencias, pero iguales en intenciones. Por un lado, Mac, el elegido por la mesa directiva por sus supuestos orígenes escoceses, y por el otro Gordon, el contador y una suerte de representante local en las negociaciones. En <strong><em>Local hero</em></strong>, la empresa petrolera es una entidad megalómana interesada en la explotación de los recursos naturales que a sus ojos están siendo custodiados con recelo por la naturaleza. Como buen colonialista, la corporación se siente en pleno derecho de comprar lugares de interés que adquiere con tanta facilidad como si estuviera comprando una barra de chocolate. Lo curioso es que en el pueblo cada uno de los habitantes está en plena consciencia del plan, y no ofrecen resistencia alguna. Están tan despojados de cualquier sentimiento nostálgico por su lugar de origen que como espectadores somos ridiculizados por nuestros propios prejuicios.\n\nSi bien Mac sugiere ser la encarnación de ideales norteamericanos de conquista y acumulación de capital donde el valor del éxito se mide por el modelo de auto que maneja, <strong><em>Local hero </em></strong>no presenta conflicto alguno entre él y los escoceses. <em>Me solían dar migrañas manejar un Chevy</em>, Mac confiesa a Oldsen, su secretario escocés, cuando éste le comenta su facilidad con los lenguajes. Cuando se siente incómodo, Mac no puede hacer más que presumir su estatus socioeconómico ya que es la única manera que conoce de socializar con otros, para bien o para mal.\n\nUno pensaría que la presencia del foráneo sería recibida con hostilidad o que supondría una resistencia por parte de la gente local. Las reuniones clandestinas en la iglesia apuntan hacia un complot organizado, pero, sin embargo, los hombres con maletines son nada más que ceros en un cheque, y postergar el acuerdo es agregar una cifra más al número ya inconmensurable. En un principio, Mac se pasea por las calles (o mejor dicho, la calle principal) como un típico turista. Compra pasta dental, visita el muelle y se reporta a Houston con llamadas diarias que realiza desde la cabina telefónica ubicada frente al bar. Pero la impaciencia aumenta cada día que pasa, y la confianza de los pueblerinos depositada en Gordon se va diluyendo. Tanta espera pareciera sugerir que las tratativas de la compra están puestas en pausa, y en cierta manera lo están, porque la compra nunca llega a concretarse, ni siquiera se define si el pago será en dólares o en libras.\n\nA medida que transcurren los días de espera, las caminatas en la playa se vuelven más frecuentes hasta que las olas y la arena conforman el escenario preponderante de la historia. <strong><em>Local hero </em></strong>observa los exteriores ya no con indiferencia sino con pura fascinación por los colores que arroja un atardecer o por los destellos luminosos de una lluvia de meteoritos, algo insólito tanto para nosotros como para un citadino acostumbrado al cielo infectado por la contaminación visual. Mac se deja de afeitar y reemplaza el blazer de su traje por un buzo de lana beige más acorde al clima y en combinación con la moda local. Por descuido, mientras juntaba caracoles, la marea alta lleva consigo su reloj alarma y con este objeto su estricto horario estadounidense regido por reuniones y entregas de informes. <em>El cielo está haciendo cosas increíbles</em>, grita Mac por el teléfono al jefe de la empresa, el Sr. Happer, embelesado al ver la aurora boreal sobre el cielo de Ferness. Curiosamente, a pesar de haberse integrado al paisaje, Mac insiste con la compra de la playa, quizás en un intento desesperado de deshacerse de aquello que nunca podrá tener.\n\nCuando las negociaciones con el ermitaño que habita en la playa se topan en un callejón sin salida, solo el Sr. Happer podrá remendar la situación. Su arribo en helicóptero nos recuerda que Mac alguna vez fue él, de traje y maletín eléctrico, y que por más curtido que esté incluso por el humor local, cambiar su vida por la de Gordon es un sueño imposible. Al final de la película, Mac abandona la playa sin pena ni gloria ante la mirada agridulce de quienes aprendieron a estimarlo. La planta de explotación es ahora un observatorio, nadie tendrá que abandonar su hogar. En cierta manera el desenlace debería ser alegre, pero no es así. En su departamento, Mac vacía los bolsillos llenos de piedritas y objetos recolectados de la playa, y coloca fotografías sobre un tablero de corcho junto los demás recuerdos de su viaje. Pero este no fue un viaje más y su departamento se siente más impersonal que antes. El cielo en Houston es muy distinto al de Ferness y los ruidos de la ciudad ensucian la vista. ¿Habrá alguien del otro lado del teléfono que esté esperando su llamada o es él que espera una llamada en su nuevo hogar?','Local Hero (1983)','','inherit','closed','closed','','1360-revision-v1','','','2020-10-20 12:39:30','2020-10-20 15:39:30','',1360,'http://lapistoladechejov.com/2020/10/20/1360-revision-v1/',0,'revision','',0),(1364,2,'2020-10-22 11:54:42','2020-10-22 14:54:42','<h2>La belleza en la emancipación estética.</h2>\nEn <strong><em>Fango</em></strong> El Brujo y El Indio quieren formar una banda de tango <em>trash</em>. Para hacerlo, recorren las calles del conurbano bonaerense en busca de posibles músicos que integren la banda. Necesitan un violinista, un baterista y alguien que toque el bandoneón para completar aquella fusión peculiar entre un género popular y la agresividad elevada del heavy metal. También existe otra línea argumental que se teje bajo esta primera, el secuestro de la esposa de El Brujo en manos de una matona recién salida de la cárcel que eventualmente desata un enfrentamiento violento. Antes de precipitarnos en la historia, resulta pertinente ilustrar ciertos aspectos formales de la película.\n\n<strong><em>Fango</em></strong> se desplaza por los escenarios suburbanos de viviendas precarias y caminos de tierra. La cámara en mano, desenvuelta y emancipada de cualquier búsqueda estética, sigue los andares de sus personajes que se mueven a pie o carreta. Ante la sospecha de que su marido le es infiel, una mujer acude a su prima Nadia para que le envíe un mensaje de alerta a la amante, quien no es otra que Beatriz, la esposa de El Brujo. Cuando la amenaza no funciona, Nadia no ve mejor solución que secuestrarla indefinidamente a sabiendas que dicho acto no podrá ser mantenido en secreto. La distancia que los personajes trazan en sus movimientos ilustra lo cerca que viven uno del otro, y el problema que esto supone. Dicho de otro modo, la información viaja de una cuadra a la otra tan pronto uno cruza la vereda de la misma manera que Beatriz está tan cerca de la casa de su amante como de la de Nadia y la suya. Es así como un transeúnte presenció el momento en que Beatriz fue agredida por Nadia y pudo informarle a Pablo, el amigo del hijo de Beatriz, a quien recurre El Brujo para encontrar a su esposa desaparecida.\n\nLos espacios interiores de <strong><em>Fango </em></strong>irradian autenticidad; ningún objeto revela su impertinencia ficcionada en la puesta en escena, sino que sugiere que estos lugares existen así tal cual se muestran, con sus escombros y suciedad impregnada, y esto los dota de una belleza genuina. En contrapartida, sus personajes declaman las líneas de diálogo con mínima entonación, o bien lo suficiente como para que se entienda lo que dicen, pero sin la exageración emocional que contaminaría con artificialidad sus actuaciones. Un saludo se dice con la misma rigidez con la que se cuenta una pérdida o con la que se termina una amistad de varios años. La cámara logra captar aquellos rasgos que no pueden ser fingidos, como el modo de hablar, la jerga, los gestos y los movimientos que define el carácter de cada persona que habita el cuadro, porque ellos, como sus viviendas, también existen fuera de <strong><em>Fango</em></strong>. Existen antes y después de la película.\n\nEn <strong><em>Fango</em></strong> se van hilando uniones entre los personajes que son tan circunstanciales como determinantes, y que a la vez embarran cualquier posibilidad de una resolución pacífica. La mera presencia del mejor amigo de Nadia en la casa de Pablo es un gesto que dilucida la causa a la cual uno se adhiere, porque se está con uno o con el otro, pero no se puede estar con ambos. La privacidad encuentra un limbo en aquellos espacios intermedios donde los personajes entran o salen de un lugar: la vereda, la antesala donde los saludos y las despedidas moldean los límites de relación incluso antes de que entablen conversación. Hay personajes que exigen una inspección previa al encuentro, o requieren contar con el aval del otro para hablar, y otros cuya presencia repentina es una sorpresa no bien recibida que genera conflicto. En estos espacios, un problema doméstico se torna en una disputa pública entre los que buscan a Beatriz y las que la esconden; lo que había iniciado como un mensaje de alerta y un problema matrimonial adquiere proporciones comunales cuando las infinitas intimidaciones no surten efecto. Para Nadia, la supuesta pérdida de su prima a causa de la angustia ocasionada por la infidelidad de su marido es imperdonable y la culpable directa de esta desgracia es la amante, y para Pablo que controla a su antojo quien transita por sus calles, esos detalles carecen de importancia cuando lo que le preocupa es ayudar a la madre de su amigo, por más que éstos ya ni se hablen. A medida que se acerca la fecha del concierto de Fango, además de la banda musical cada grupo ha tejido una red importante de allegados donde el objetivo final queda borroneado; solo resta pararse de un lado o del otro o bien dar un paso al costado y asumir por siempre la etiqueta de cobardía. Las amenazas verbales son reemplazadas por cuchillos y palos, y cuando éstos pierden su filo, por armas de fuego de construcción artesanal.\n\nLa violencia en <strong><em>Fango </em></strong>ocurre a plena luz del día y a plena vista, tal como todas las escenas de la película transcurren también de día. En estos barrios no es necesario el amparo de la oscuridad para cometer actos delictivos ni escabullirse en la propiedad de otro para matar a alguien, porque en los márgenes de la ciudad la ley es otra. La violencia se hace presente en todas las dimensiones sociales, desde la violencia de género y familiar, al dominio territorial. En este sentido, el tratamiento visual que adquieren los asesinatos es tan frontal como crudo. La piel se degolla, la sangre brota de la frente, y la carne explota al recibir los disparos; transitar estos lugares es enfrentarse a esta violencia.\n\nJosé Celestino Campusano es un director que anula los límites de la ficción y propone un relato reacio a cualquier parámetro estético o narrativo. La narración y la concepción de las imágenes parte desde una construcción colectiva e inmiscuida en el entorno periférico en el cual se sitúa. En su cine el guión no se escribe, se filma y se expande a través de las voces de la comunidad porque el interés de Campusano recae en captar aquello que hace único a una persona y a un grupo de personas. Sería ingenuo pretender que aquí los finales felices existen, tan solo son momentáneos ajustes de cuenta.','Fango (2012)','','publish','open','open','','fango-2012','','','2020-10-22 11:54:47','2020-10-22 14:54:47','',0,'http://lapistoladechejov.com/?p=1364',0,'post','',0),(1353,2,'2020-10-13 15:27:51','2020-10-13 18:27:51','','technoboss','','inherit','open','closed','','technoboss','','','2020-10-13 15:27:51','2020-10-13 18:27:51','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/10/technoboss.jpg',0,'attachment','image/jpeg',0),(1354,2,'2020-10-13 15:31:44','2020-10-13 18:31:44','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1351\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/10/im-thinkin-1-150x150.jpeg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, octubre). Recuerdos permeables. El espectador Imaginario, (116). <a href=\"http://www.elespectadorimaginario.com/estoy-pensando-en-dejarlo/\">http://www.elespectadorimaginario.com/estoy-pensando-en-dejarlo/ </a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1353\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/10/technoboss-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, octubre). Bailando entre paisajes pintados y escenografías de papel. El espectador Imaginario, (116). <a href=\"_wp_link_placeholder\" data-wplink-edit=\"true\">http://www.elespectadorimaginario.com/technoboss/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1329\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/09/da-five-bloods-150x150.jpg\" alt=\"da five bloods\" width=\"150\" height=\"150\" />Vazquez, A. (2020, septiembre). Violencia sobre sutileza. El espectador Imaginario, (115). <a href=\"http://www.elespectadorimaginario.com/da-5-bloods-hermanos-de-armas/\">http://www.elespectadorimaginario.com/da-5-bloods-hermanos-de-armas/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1330\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/09/first-cow-150x150.jpg\" alt=\"first cow\" width=\"150\" height=\"150\" />Vazquez, A. (2020, septiembre). Riquezas disonantes. El espectador Imaginario, (115). <a href=\"http://www.elespectadorimaginario.com/first-cow/\">http://www.elespectadorimaginario.com/first-cow/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1285\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/la-protagonista-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Sobre torpezas e incomodidades. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/la-protagonista/\">http://www.elespectadorimaginario.com/la-protagonista/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1283\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/a-russian-youth-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Entre bombas y platillos. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/a-russian-youth/\">http://www.elespectadorimaginario.com/a-russian-youth/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1287\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/the-wind-will-carry-us-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Un cálido sentimiento de existencia. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/\">http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1284\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/beapole-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Heridas descosidas. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/una-gran-mujer/\">http://www.elespectadorimaginario.com/una-gran-mujer/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1286\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/never-rarely-sometimes-always-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Ojalá que nunca. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/never-rarely-sometimes-always/\">http://www.elespectadorimaginario.com/never-rarely-sometimes-always/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1242\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/los-sonambulos-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Adormecidos bajo el calor veraniego. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/los-sonambulos/\">http://www.elespectadorimaginario.com/los-sonambulos/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1240\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/el-silencio-150x150.jpeg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Memoria y libertad. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/memoria-y-libertad/\">http://www.elespectadorimaginario.com/memoria-y-libertad/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1241\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/i-was-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Los vacíos del pero. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/estaba-en-casa-pero/\">http://www.elespectadorimaginario.com/estaba-en-casa-pero/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1093\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3-150x150.jpg\" alt=\"Bacurau\" width=\"150\" height=\"150\" /></p>\n<p>Vazquez, A. (2020, abril). Más brutal que la fantasía. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/bacurau/\">http://www.elespectadorimaginario.com/bacurau/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1175\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Amor en tiempos de mafia. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/first-love/\">http://www.elespectadorimaginario.com/first-love/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1176\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Resistiendo al tiempo. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/resistiendo-al-tiempo/\">http://www.elespectadorimaginario.com/resistiendo-al-tiempo/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1177\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Serge Daney y la Cahiers. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/\">http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1178\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). Elegante violencia al estilo neo-noir. El espectador Imaginario, (110). <a href=\"http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/\">http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1179\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). El precio del martirio. El espectador Imaginario, (110). <a href=\"https://www.elespectadorimaginario.com/vida-oculta/\">https://www.elespectadorimaginario.com/vida-oculta/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2020-10-13 15:31:44','2020-10-13 18:31:44','',812,'http://lapistoladechejov.com/2020/10/13/812-revision-v1/',0,'revision','',0),(1350,2,'2020-10-13 15:27:30','2020-10-13 18:27:30','','im thinkin','','inherit','open','closed','','im-thinkin','','','2020-10-13 15:27:30','2020-10-13 18:27:30','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/10/im-thinkin.jpeg',0,'attachment','image/jpeg',0),(1351,2,'2020-10-13 15:27:37','2020-10-13 18:27:37','','im thinkin','','inherit','open','closed','','im-thinkin-2','','','2020-10-13 15:27:37','2020-10-13 18:27:37','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/10/im-thinkin-1.jpeg',0,'attachment','image/jpeg',0),(1347,2,'2020-10-07 11:38:27','2020-10-07 14:38:27','','fat city 1','','inherit','open','closed','','fat-city-1','','','2020-10-07 11:38:27','2020-10-07 14:38:27','',1346,'http://lapistoladechejov.com/wp-content/uploads/2020/10/fat-city-1.jpg',0,'attachment','image/jpeg',0),(1348,2,'2020-10-07 11:41:49','2020-10-07 14:41:49','<h2>Carencias y fracasos.</h2>\nLos paisajes de Stockton, California desfilan uno tras otro. Un cartel que anuncia una renovación inmobiliaria se funde con imágenes de casas demolidas, construcciones a medio terminar, y anuncios parroquiales de comedores populares. La melodía melancólica acompaña las imágenes de hombres desempleados que ocupan las veredas de la ciudad en la espera de un mañana un tanto mejor. Pero este futuro nunca llega. Mientras tanto, en el gimnasio local, Tully conoce a Ernie, un chico agraciado por la juventud y su contextura física. Pareciera ser la siguiente gran promesa del boxeo local pero lo que él no sabe es que vivir en “fat city” es tan improbable como ganar la lotería.\n\nLa expresión “fat city” o “vivir en fat city” se refiere a una situación de abundancia y comodidad donde quienes alcanzan este idilio poseen un trabajo bien pagado, un auto y una casa propia. Para Tully, un peón de campo y ex boxeador, este deseo es posible a veces, o al menos hasta que una contracción muscular se interponga en su entrenamiento y lo regrese al bar, su segundo hogar. En <strong><em>Fat City</em></strong>, el boxeo sucede en un segundo plano: sus personajes deben comer primero antes de contemplar la posibilidad de enfrentarse a un contrincante. El interés de la película recae sobre la lucha de sus personajes confinados a su situación de clase donde al contrario de lo que el boxeador de 15 años lo afirma, querer ganar no es todo lo que vale. Las escenas de las peleas son asaltos efímeros donde el montaje reduce aún más el tiempo en el ring. En contraposición, por si no fuera suficiente la derrota sin gloria de los boxeadores, las escenas más largas son aquellas en las que Tully y Ernie discuten con sus respectivas parejas amorosas en un intercambio donde los ganchos son amenazas y los <em>jabs</em> intimidaciones que reciben resignados sin posibilidad alguna de despegarse de las cuerdas.\n\n<strong><em>Fat City </em></strong>repite la historia de Tully con Ernie, y a la vez, utiliza a Ernie para recalcar los machaques de Tully y en cierta manera predisponerlo al mismo futuro. Los personajes son versiones deformadas del otro, con mínimas variaciones, pero que se articulan en contraste. Tully alguna vez fue joven y ágil, y alguna vez también estuvo casado. No en vano el entrenador se lamenta cuando Ernie contrae matrimonio y anticipa que sucederá lo mismo que ocurre con los demás jóvenes que abandonan el boxeo para vivir con sus parejas. Pero el recorrido que trazan no es lo único que se repite. Los personajes de <strong><em>Fat City </em></strong>reiteran frases y preguntas como si no supieran hacer nada más que caer en los mismos vicios, o, visto desde afuera, como si no supieran que las oportunidades escasean en los pueblitos acechados por la miseria. Ya me pondré en forma, dice Tully una y otra vez, pero el deseo no es suficiente, la intención no compra un bife.\n\nComo buen pesimista, <strong><em>Fat City </em></strong>busca en los arrebatos violentos de Tully a un culpable directo de los dolores que padece, cuando en realidad atribuirle la culpa a la esposa, al entrenador o a los jueces de la pelea, es tan inconsecuente como la anécdota de vinos y rosas que relata un peón de campo. A Tully se lo ve sudado, borracho y abatido aún sin haber peleado y, por si fuera poco, las elipsis dejan fuera grandes lapsos de tiempo donde absolutamente nada cambia. La trama paralela de los dilemas de Ernie y su novia son el único indicio de la noción temporal del relato donde ciertos eventos dan una pista sobre los meses transcurridos entre un encuentro y el otro. En estas coincidencias la derrota permea sus deseos; el boxeador sigue creyendo que juntar nueces es la mejor manera de entrenar, cuando el tiempo recuerda que el apogeo de su carrera nunca existió. En este sentido, los saltos temporales remarcan con insistencia la imposibilidad de Tully por desprenderse del suelo. Hace ya varios años que sus diez segundos se esfumaron.\n\nLa única victoria de Tully es una gran derrota. A lo largo de la película, existían dos puntos de vista preponderantes, el de Tully y el de Ernie, y uno secundario, el del entrenador que cada tanto proporcionaba información sobre su nuevo discípulo. En la pelea final, existe un cambio de vista radical que adopta por un breve instante el punto de vista del contrincante de Tully. El boxeador rival pelea en clara desventaja; tan sólo unos instantes antes del encuentro se lo ve orinando sangre y sufriendo dolores terribles en la zona abdominal. Este detalle solo lo vemos nosotros, porque no verlo sería caer en la misma ignorancia de creer que el triunfo es posible cuando la película no hace más que recalcar el fracaso. A Tully se le perdona esta información, y se lo deja disfrutar por un segundo el sabor de la victoria que tan solo es una pequeña pausa antes del siguiente asalto que lo dejaría en el suelo: la paga no es lo que esperaba. Su sudor vale apenas un par de dólares, quizás lo justo para aguantar su recuperación.\n\nEl uso esporádico de travellings hacia adelante van cerrando el plano sobre el rostro avejentado de Tully, hasta que llegado el final lo cerca sin posibilidad de escape alguna. Una vez más, una elipsis omite el periodo en que tal vez el protagonista haya tenido dinero para comer y vivir e ilustra su peor momento, sucio, borracho y mendigando en la calle.\n\n<strong><em>Fat City </em></strong>es una película de fracasos y desilusiones, y como tal toca fondo con su protagonista cuando este se da cuenta que su situación no es mejor que la del anciano que le sirve café en un bar de marginados. Quizás él sea feliz, suspira Ernie, en un lamento que admite todavía creer que el boxeo lo llevará a otro destino. Mientras Tully observa a su alrededor, por primera vez se observa a sí mismo. A medida que la cámara cierra su mirada, la imagen se congela en viñetas que describen el momento de ocio de una población en desventaja; para él, con suerte, esta es y será su vida.','Fat City (1972)','','inherit','closed','closed','','1346-revision-v1','','','2020-10-07 11:41:49','2020-10-07 14:41:49','',1346,'http://lapistoladechejov.com/2020/10/07/1346-revision-v1/',0,'revision','',0),(1343,2,'2020-09-22 14:25:35','2020-09-22 18:25:35','la nube errante','la nube errante','','inherit','open','closed','','la-nube-errante','','','2020-09-22 14:26:11','2020-09-22 18:26:11','',1341,'http://lapistoladechejov.com/wp-content/uploads/2020/09/la-nube-errante.jpg',0,'attachment','image/jpeg',0),(1344,2,'2020-09-22 14:31:42','2020-09-22 18:31:42','<h2>El sabor de la sequía.</h2>\nEn un plano extraño que contempla desde arriba la bifurcación de un túnel subterráneo, dos mujeres se cruzan. Una de ellas, vestida de enfermera, acarrea una sandía; la otra, una bolsa de plástico con lo que pareciera ser una botella de agua. El paradero de ambas se revela sin demora en un montaje que alterna el rodaje de una película pornográfica con la otra mujer acostada en el suelo con las piernas abiertas escuchando las noticias locales mientras bebe jugo de sandía. Entre gemidos y chapoteos fibrosos, la voz del reportero comenta sobre la bajada del río. Al parecer, en Taiwán no hay agua. Las autoridades sugieren consumir sandías e incitan la recolección de recipientes de plástico que podrían servir para juntar agua de lluvia.\n\nEn <em><strong>La nube errante</strong></em>, paliar la sed es lo mismo que apaciguar el apetito, sin importar a qué tipo de deseo se corresponda, sea hambre, una carencia afectiva, o una fantasía sexual. Shiang-Chyi, recién arribada a la ciudad, deambula por los espacios públicos del edificio de departamentos en busca de agua, mientras que Hsiao-Kang, el actor porno, se baña en los reservorios de las terrazas. En este universo quimérico, nada es más importante que la acumulación ceremoniosa de sandías y botellitas.\n\nEl encuentro casual de ambos es anticipado por una secuencia musical, la primera de varias, donde él, vestido de un lagarto de brillantina, se lamenta sobre su irremediable soledad. Las burbujas viajan del reservorio al grifo del baño de Shiang-Chyi y a la habitación donde ella se encuentra durmiendo con un reptil de peluche en su mano. Al día siguiente, ella se encuentra con Hsiao-Kang en un banco en la plaza. Él ya no vende más relojes, se dedica a otra cosa, ni tampoco puede abrir la valija de ella. Tras una cena de fideos y jugo de sandía, se separan. Lo que ninguno de los dos sabe es que a lo largo de la película estarán más lejos de lo que en un principio suponen.\n\nLos encuadres de <em><span style=\"font-weight: 600;\">La nube errante</span></em> abarcan espacios donde suceden cosas distintas y los contiene en una misma imagen. El uso de una lente gran angular permite comprimir una cocina y una sala, o una pieza con la otra, lo cual se corresponde a una idea de vínculo espacial forzoso o deforme en contrapartida a la desconexión emocional de sus protagonistas. Cuando Shiang-Chyi procura dormir pese a los gemidos de sus vecinos de arriba, la cámara se posiciona a sus pies, con el cielo raso acaparando la imagen. Y es en el piso encima suyo donde Hsiao-Kang se encuentra grabando una nueva película. En estos planos fragmentados que contraponen acciones divergentes, lo que sucede al otro lado permanece oculto según donde uno se encuentre, pero no para nosotros. En este sentido, observamos dos escenarios, una cocina y una sala, o incluso la misma película porno siendo grabada y luego reproducida en el televisor de Shiang-Chyi.\n\nEn la película, lo erótico está opacado en parte por la vulgaridad y en parte por la comedia. En lo grotesco, es el agua con algas y el semen que chorrea del rostro, y en lo absurdo, son semillas de sandía o tapitas de botellas que se pierden en los orificios del cuerpo. El equipo de producción de las películas pornográficas donde actúa Hsiao-Kang es tan susceptible a la escasez temporal de su público que torna cada déficit en un elemento de excitación, sea una sandía o una botella de plástico, los nuevos bienes de la sequía vueltos fálicos con la ayuda de un encuadre explícito y una luz puntual.\n\nEn <em><span style=\"font-weight: 600;\">La nube errante</span></em> las interrupciones musicales no guardan correspondencia alguna con el estado interior de las personas sino son dislocaciones mismas espolvoreadas por Tsai Ming-Liang sobre la película. A las coreografías elaboradas y a la extravagancia de los vestuarios, se le suma la fascinación del director por una pieza del disfraz que se vuelve el centro del número, como un sombrero de pene gigante sobre la cabeza de Hsiao-Kang que se mueve frenéticamente entre las mujeres vestidas con sopapas, o una mujer araña que despide fuego del ano mientras repta por el cemento.\n\nA pesar de la atracción que sienten Hsiao-Kang y Shiang-Chyi, él es incapaz de entablar una relación afectiva. La secuencia final es una agonía que exprime la incomodidad hasta que uno mismo se siente descolado con lo que está observando. Tras la muerte de la actriz porno, el equipo de producción no tiene mejor idea que continuar filmando, ni siquiera por morbo o por una excitación trastornada, sino por mera inercia. La actriz deja de ser una persona y se vuelve materia, y con el correr de los minutos, un pedazo de utilería incómodo. La puesta en escena despedaza los cuerpos de sus personajes en agujeros y miembros separados por ventadas y paredes donde el malestar se convierte en fastidio, y el fastidio en un enfado que linda entre el aburrimiento y el sarcasmo. <em><span style=\"font-weight: 600;\">La nube errante</span></em> es una película trágica y pegajosa donde el sexo no es placentero, sino son meros movimientos vacíos que se repiten hasta un eventual cambio de posición y el desencanto de la eyaculación.','La nube errante (2005)','','inherit','closed','closed','','1341-revision-v1','','','2020-09-22 14:31:42','2020-09-22 18:31:42','',1341,'http://lapistoladechejov.com/2020/09/22/1341-revision-v1/',0,'revision','',0),(1342,2,'2020-09-22 14:20:07','2020-09-22 18:20:07','<h2>El sabor de la sequía.</h2>\n<p class=\"normal\" style=\"margin: 0cm 0cm 10pt; line-height: 16.8667px; font-size: 11pt; font-family: Arial; color: #000000; letter-spacing: normal; text-align: justify;\"><span lang=\"es\">En un plano extraño que contempla desde arriba la bifurcación de un túnel subterráneo, dos mujeres se cruzan. Una de ellas, vestida de enfermera, acarrea una sandía; la otra, una bolsa de plástico con lo que pareciera ser una botella de agua. El paradero de ambas se revela sin demora en un montaje que alterna el rodaje de una película pornográfica con la otra mujer acostada en el suelo con las piernas abiertas escuchando las noticias locales mientras bebe jugo de sandía. Entre gemidos y chapoteos fibrosos, la voz del reportero comenta sobre la bajada del río. Al parecer, en Taiwán no hay agua. Las autoridades sugieren consumir sandías e incitan la recolección de recipientes de plástico que podrían servir para juntar agua de lluvia.</span></p>\n<p class=\"normal\" style=\"margin: 0cm 0cm 10pt; line-height: 16.8667px; font-size: 11pt; font-family: Arial; color: #000000; letter-spacing: normal; text-align: justify;\"><span lang=\"es\">En <strong><em>La nube errante</em></strong>, paliar la sed es lo mismo que apaciguar el apetito, sin importar a qué tipo de deseo se corresponda, sea hambre, una carencia afectiva, o una fantasía sexual. Shiang-Chyi, recién arribada a la ciudad, deambula por los espacios públicos del edificio de departamentos en busca de agua, mientras que Hsiao-Kang, el actor porno, se baña en los reservorios de las terrazas. En este universo quimérico, nada es más importante que la acumulación ceremoniosa de sandías y botellitas.</span></p>\n<p class=\"normal\" style=\"margin: 0cm 0cm 10pt; line-height: 16.8667px; font-size: 11pt; font-family: Arial; color: #000000; letter-spacing: normal; text-align: justify;\"><span lang=\"es\">El encuentro casual de ambos es anticipado por una secuencia musical, la primera de varias, donde él, vestido de un lagarto de brillantina, se lamenta sobre su irremediable soledad. Las burbujas viajan del reservorio al grifo del baño de Shiang-Chyi y a la habitación donde ella se encuentra durmiendo con un reptil de peluche en su mano. Al día siguiente, ella se encuentra con Hsiao-Kang en un banco en la plaza. Él ya no vende más relojes, se dedica a otra cosa, ni tampoco puede abrir la valija de ella. Tras una cena de fideos y jugo de sandía, se separan. Lo que ninguno de los dos sabe es que a lo largo de la película estarán más lejos de lo que en un principio suponen.</span></p>\n<p class=\"normal\" style=\"margin: 0cm 0cm 10pt; line-height: 16.8667px; font-size: 11pt; font-family: Arial; color: #000000; letter-spacing: normal; text-align: justify;\"><span lang=\"es\">Los encuadres de <strong><em>La nube errante </em></strong>abarcan espacios donde suceden cosas distintas y los contiene en una misma imagen. El uso de una lente gran angular permite comprimir una cocina y una sala, o una pieza con la otra, lo cual se corresponde a una idea de vínculo espacial forzoso o deforme en contrapartida a la desconexión emocional de sus protagonistas. Cuando Shiang-Chyi procura dormir pese a los gemidos de sus vecinos de arriba, la cámara se posiciona a sus pies, con el cielo raso acaparando la imagen. Y es en el piso encima suyo donde Hsiao-Kang se encuentra grabando una nueva película. En estos planos fragmentados que contraponen acciones divergentes, lo que sucede al otro lado permanece oculto según donde uno se encuentre, pero no para nosotros. En este sentido, observamos dos escenarios, una cocina y una sala, o incluso la misma película porno siendo grabada y luego reproducida en el televisor de Shiang-Chyi.</span></p>\n<p class=\"normal\" style=\"margin: 0cm 0cm 10pt; line-height: 16.8667px; font-size: 11pt; font-family: Arial; color: #000000; letter-spacing: normal; text-align: justify;\"><span lang=\"es\">En la película, lo erótico está opacado en parte por la vulgaridad y en parte por la comedia. En lo grotesco, es el agua con algas y el semen que chorrea del rostro, y en lo absurdo, son semillas de sandía o tapitas de botellas que se pierden en los orificios del cuerpo. El equipo de producción de las películas pornográficas donde actúa Hsiao-Kang es tan susceptible a la escasez temporal de su público que torna cada déficit en un elemento de excitación, sea una sandía o una botella de plástico, los nuevos bienes de la sequía vueltos fálicos con la ayuda de un encuadre explícito y una luz puntual.</span></p>\n<p class=\"normal\" style=\"margin: 0cm 0cm 10pt; line-height: 16.8667px; font-size: 11pt; font-family: Arial; color: #000000; letter-spacing: normal; text-align: justify;\"><span lang=\"es\">En <strong><em>La nube errante </em></strong>las interrupciones musicales no guardan correspondencia alguna con el estado interior de las personas sino son discolocaciones mismas espolvoreadas por Tsai Ming-Liang sobre la película. A las coreografías elaboradas y a la extravagancia de los vestuarios, se le suma la fascinación del director por una pieza del disfraz que se vuelve el centro del número, como un sombrero de pene gigante sobre la cabeza de Hsiao-Kang que se mueve frenéticamente entre las mujeres vestidas con sopapas, o una mujer araña que despide fuego del ano mientras repta por el cemento.   </span></p>\n<p class=\"normal\" style=\"margin: 0cm 0cm 10pt; line-height: 16.8667px; font-size: 11pt; font-family: Arial; color: #000000; letter-spacing: normal; text-align: justify;\"><span lang=\"es\">A pesar de la atracción que sienten Hsiao-Kang y Shiang-Chyi, él es incapaz de entablar una relación afectiva. La secuencia final es una agonía que exprime la incomidad hasta que uno mismo se siente descolado con lo que está observando. Tras la muerte de la actriz porno, el equipo de producción no tiene mejor idea que continuar filmando, ni siquiera por morbo o por una exitación trastornada, sino por mera inercia. La actriz deja de ser una persona y se vuelve materia, y con el correr de los minutos, un pedazo de utilería incómodo. La puesta en escena despedaza los cuerpos de sus personajes en agujeros y miembros separados por ventadas y paredes donde el malestar se convierte en fastidio, y el fastidio en un enfado que linda entre el aburrimiento y el sarcasmo. <strong><em>La nube errante </em></strong>es una película trágica y pegagosa donde el sexo no es placentero, sino son meros movimientos vacíos que se repiten hasta un eventual cambio de posición y el desencanto de la eyaculación.</span></p>','La nube errante (2005)','','inherit','closed','closed','','1341-revision-v1','','','2020-09-22 14:20:07','2020-09-22 18:20:07','',1341,'http://lapistoladechejov.com/2020/09/22/1341-revision-v1/',0,'revision','',0),(1335,2,'2020-09-15 11:56:38','2020-09-15 15:56:38','Una hora contigo','una hora contigo','','inherit','open','closed','','una-hora-contigo','','','2020-09-15 11:57:02','2020-09-15 15:57:02','',1334,'http://lapistoladechejov.com/wp-content/uploads/2020/09/una-hora-contigo.jpeg',0,'attachment','image/jpeg',0),(1336,2,'2020-09-15 11:57:07','2020-09-15 15:57:07','<h2>Palabras pícaras.</h2>\nUna decena de policías se reúnen para escuchar las directivas del comisario. Con severidad en su voz, el jefe afirma que el aire maravilloso trae problemas de todos lados. Al parecer, la primavera es una estación peligrosa en París, y los policías lo saben. Algo tan tremendo ocurre en los parques que urge la limpieza de los espacios públicos. Pero no son actos delictivos, ni tampoco violentos; es el mero encuentro de amantes que aprovechan la oscuridad para encuentros casuales. En <strong><em>Una hora contigo </em></strong>el humor se aprovecha de ese pequeño lapso de tiempo donde las cosas no se dicen y que por el contrario, por un breve instante, se estimula fantasías que se cumplen en nuestro imaginario.\n\nTras la alerta expresa del aire lujurioso que dominará el actuar de sus personajes, la trama se resume de la siguiente manera. El Dr. André Bertier está felizmente casado con Colette, esto lo remarca varias veces y mirando a cámara en un diálogo que establece con nosotros. Los Bertier viven un idilio matrimonial donde abunda el amor y el sexo. Pero la irrupción casual de Mitzi Olivier, la mejor amiga de Colette, pondrá a prueba la fidelidad de la pareja, pues ella intentará a toda costa seducir al doctor. Por su parte, Adolph, el mejor amigo de André, arde de deseo por Colette, y el profesor Olivier, esposo de Mitzi, solo quiere el divorcio, el único inmune al romanticismo francés. Para hacerlo, contrata a un detective privado para recolectar las pruebas que pudiesen oficializar su separación en la corte. Los deseos no siempre se corresponden, sino que se van enredando y cruzando en un juego de secretos coquetos y encuentros protocolares.\n\nAndré y Mitzi se conocen en un taxi. Pero para el mundo en el que habitan, dos extraños que comparten un viaje es sinónimo de adulterio. En un ida y vuelta de un par de líneas de diálogo que van de comentarios sobre las noticias locales a indagaciones sobre el estado marital de cada uno, Mitzi sentencia un ultimátum: que el doctor suelte el periódico y se enfrente a los hechos. Poco sabía André que la desconocida era su invitada para el almuerzo, y poco sabíamos nosotros que a partir de esta secuencia cada palabra y gesto tendría una connotación sexual. Pero me estoy adelantando, volvamos al relato.\n\nLuego de que André haya saltado del taxi, Mitzi llega a la casa de los Bertier. Las amigas se saludan con un afectuoso beso. Entre que se ponen al día y conversan sobre los amantes de Mitzi, Colette le hace un tour de la casa por los lugares más importantes, perdón un solo lugar, la habitación. Ella le muestra la cama y su cajón de lencería, a lo que Mitzi tienta que tanta ropa interior para un solo hombre es un desperdicio. Y hablando del marido, Mitzi descubre el pijama de André sobre una percha al que curiosamente le falta la parte de abajo. Ay disculpa, dice ella por el atrevimiento y las amigas retoman las risitas como si no se hubieran referido al marido de Colette desnudo de cintura para abajo.\n\nOtro momento embarazoso. Tras la presentación oficial de Mitzi, las dos mujeres contemplan al doctor. Una dice que es un amor, la otra que es bonito. André solo murmura avergonzado que por favor paren. Colette se acerca a Mitzi y le susurra algo al oído. Al escuchar sus palabras, Mitzi frunce el ceño y sonríe. Su mirada se enciende mientras que la esposa del doctor se muerde el labio y le susurra otro secreto. Atónito, André las observa. Ni él ni nosotros tenemos idea de lo que las mujeres están diciendo, dependemos únicamente de sus miradas traviesas. Tras un intercambio de secretos y reacciones que involucra cejas levantadas, preguntas de afirmación y hasta un pedido expreso de permiso, Mitzi desea ver cómo el Dr. puede hacer lo que hace. Pero esta habilidad dista de ser cualquier conjetura posible sobre las destrezas o los atributos del hombre. Al parecer André es habilidoso en imitar a un búho. Sí, un búho.\n\n<strong><em>Una hora contigo </em></strong>está plagada de momentos pícaros como este que no se resguardan del pudor. Es, además de burlona, irónica. Cuando la conversación de las amigas va desde un cuchicheo inentendible a intercambios en versos que además riman, el diálogo entre el Profesor Olivier y el Dr. Bertier se reduce a risas torpes y a una incapacidad absoluta de pronunciar palabras. La eventual resolución de los dilemas matrimoniales sucede en una suerte de reproche mutuo, un beso por el otro y un final empatado donde André y Colette conversan con el público. Si ella fuera tu esposa, dice él, y él tu marido, dice ella, harían lo mismo, porque si en algo se ponen de acuerdo es que el amor y el sexo son cuestiones separadas.\n\nPodemos debatir si en realidad estaban a mano, pero a pesar de todo, <strong><em>Una hora contigo </em></strong>nunca pierde su viveza; el ingenio del relato surge en la incomodidad suspendida, en el misterio jocoso que genera sonrisas sin afirmar ni negar y que juega con el puro deleite de las palabras con doble sentido, un poco como la imagen de Adolph vistiendo una calza responde sin decirlo al placer del mayordomo.','Una hora contigo (1932)','','inherit','closed','closed','','1334-revision-v1','','','2020-09-15 11:57:07','2020-09-15 15:57:07','',1334,'http://lapistoladechejov.com/2020/09/15/1334-revision-v1/',0,'revision','',0),(1346,2,'2020-10-07 11:48:23','2020-10-07 14:48:23','<h2>Carencias y fracasos.</h2>\nLos paisajes de Stockton, California desfilan uno tras otro. Un cartel que anuncia una renovación inmobiliaria se funde con imágenes de casas demolidas, construcciones a medio terminar, y anuncios parroquiales de comedores populares. La melodía melancólica acompaña las imágenes de hombres desempleados que ocupan las veredas de la ciudad en la espera de un mañana un tanto mejor. Pero este futuro nunca llega. Mientras tanto, en el gimnasio local, Tully conoce a Ernie, un chico agraciado por la juventud y su contextura física. Pareciera ser la siguiente gran promesa del boxeo local pero lo que él no sabe es que vivir en “fat city” es tan improbable como ganar la lotería.\n\nLa expresión “fat city” o “vivir en fat city” se refiere a una situación de abundancia y comodidad donde quienes alcanzan este idilio poseen un trabajo bien pagado, un auto y una casa propia. Para Tully, un peón de campo y ex boxeador, este deseo es posible a veces, o al menos hasta que una contracción muscular se interponga en su entrenamiento y lo regrese al bar, su segundo hogar. En <strong><em>Fat City</em></strong>, el boxeo sucede en un segundo plano: sus personajes deben comer primero antes de contemplar la posibilidad de enfrentarse a un contrincante. El interés de la película recae sobre la lucha de sus personajes confinados a su situación de clase donde al contrario de lo que el boxeador de 15 años lo afirma, querer ganar no es todo lo que vale. Las escenas de las peleas son asaltos efímeros donde el montaje reduce aún más el tiempo en el ring. En contraposición, por si no fuera suficiente la derrota sin gloria de los boxeadores, las escenas más largas son aquellas en las que Tully y Ernie discuten con sus respectivas parejas amorosas en un intercambio donde los ganchos son amenazas y los <em>jabs</em> intimidaciones que reciben resignados sin posibilidad alguna de despegarse de las cuerdas.\n\n<strong><em>Fat City </em></strong>repite la historia de Tully con Ernie, y a la vez, utiliza a Ernie para recalcar los machaques de Tully y en cierta manera predisponerlo al mismo futuro. Los personajes son versiones deformadas del otro, con mínimas variaciones, pero que se articulan en contraste. Tully alguna vez fue joven y ágil, y alguna vez también estuvo casado. No en vano el entrenador se lamenta cuando Ernie contrae matrimonio y anticipa que sucederá lo mismo que ocurre con los demás jóvenes que abandonan el boxeo para vivir con sus parejas. Pero el recorrido que trazan no es lo único que se repite. Los personajes de <strong><em>Fat City </em></strong>reiteran frases y preguntas como si no supieran hacer nada más que caer en los mismos vicios, o, visto desde afuera, como si no supieran que las oportunidades escasean en los pueblitos acechados por la miseria. Ya me pondré en forma, dice Tully una y otra vez, pero el deseo no es suficiente, la intención no compra un bife.\n\nComo buen pesimista, <strong><em>Fat City </em></strong>busca en los arrebatos violentos de Tully a un culpable directo de los dolores que padece, cuando en realidad atribuirle la culpa a la esposa, al entrenador o a los jueces de la pelea, es tan inconsecuente como la anécdota de vinos y rosas que relata un peón de campo. A Tully se lo ve sudado, borracho y abatido aún sin haber peleado y, por si fuera poco, las elipsis dejan fuera grandes lapsos de tiempo donde absolutamente nada cambia. La trama paralela de los dilemas de Ernie y su novia son el único indicio de la noción temporal del relato donde ciertos eventos dan una pista sobre los meses transcurridos entre un encuentro y el otro. En estas coincidencias la derrota permea sus deseos; el boxeador sigue creyendo que juntar nueces es la mejor manera de entrenar, cuando el tiempo recuerda que el apogeo de su carrera nunca existió. En este sentido, los saltos temporales remarcan con insistencia la imposibilidad de Tully por desprenderse del suelo. Hace ya varios años que sus diez segundos se esfumaron.\n\nLa única victoria de Tully es una gran derrota. A lo largo de la película, existían dos puntos de vista preponderantes, el de Tully y el de Ernie, y uno secundario, el del entrenador que cada tanto proporcionaba información sobre su nuevo discípulo. En la pelea final, existe un cambio de vista radical que adopta por un breve instante el punto de vista del contrincante de Tully. El boxeador rival pelea en clara desventaja; tan sólo unos instantes antes del encuentro se lo ve orinando sangre y sufriendo dolores terribles en la zona abdominal. Este detalle solo lo vemos nosotros, porque no verlo sería caer en la misma ignorancia de creer que el triunfo es posible cuando la película no hace más que recalcar el fracaso. A Tully se le perdona esta información, y se lo deja disfrutar por un segundo el sabor de la victoria que tan solo es una pequeña pausa antes del siguiente asalto que lo dejaría en el suelo: la paga no es lo que esperaba. Su sudor vale apenas un par de dólares, quizás lo justo para aguantar su recuperación.\n\nEl uso esporádico de travellings hacia adelante van cerrando el plano sobre el rostro avejentado de Tully, hasta que llegado el final lo cerca sin posibilidad de escape alguna. Una vez más, una elipsis omite el periodo en que tal vez el protagonista haya tenido dinero para comer y vivir e ilustra su peor momento, sucio, borracho y mendigando en la calle.\n\n<strong><em>Fat City </em></strong>es una película de fracasos y desilusiones, y como tal toca fondo con su protagonista cuando este se da cuenta que su situación no es mejor que la del anciano que le sirve café en un bar de marginados. Quizás él sea feliz, suspira Ernie, en un lamento que admite todavía creer que el boxeo lo llevará a otro destino. Mientras Tully observa a su alrededor, por primera vez se observa a sí mismo. A medida que la cámara cierra su mirada, la imagen se congela en viñetas que describen el momento de ocio de una población en desventaja; para él, con suerte, esta es y será su vida.','Fat City (1972)','','publish','open','open','','fat-city-1972','','','2020-10-07 11:48:27','2020-10-07 14:48:27','',0,'http://lapistoladechejov.com/?p=1346',0,'post','',0),(1367,2,'2020-10-22 11:54:42','2020-10-22 14:54:42','<h2>La belleza en la emancipación estética.</h2>\nEn <strong><em>Fango</em></strong> El Brujo y El Indio quieren formar una banda de tango <em>trash</em>. Para hacerlo, recorren las calles del conurbano bonaerense en busca de posibles músicos que integren la banda. Necesitan un violinista, un baterista y alguien que toque el bandoneón para completar aquella fusión peculiar entre un género popular y la agresividad elevada del heavy metal. También existe otra línea argumental que se teje bajo esta primera, el secuestro de la esposa de El Brujo en manos de una matona recién salida de la cárcel que eventualmente desata un enfrentamiento violento. Antes de precipitarnos en la historia, resulta pertinente ilustrar ciertos aspectos formales de la película.\n\n<strong><em>Fango</em></strong> se desplaza por los escenarios suburbanos de viviendas precarias y caminos de tierra. La cámara en mano, desenvuelta y emancipada de cualquier búsqueda estética, sigue los andares de sus personajes que se mueven a pie o carreta. Ante la sospecha de que su marido le es infiel, una mujer acude a su prima Nadia para que le envíe un mensaje de alerta a la amante, quien no es otra que Beatriz, la esposa de El Brujo. Cuando la amenaza no funciona, Nadia no ve mejor solución que secuestrarla indefinidamente a sabiendas que dicho acto no podrá ser mantenido en secreto. La distancia que los personajes trazan en sus movimientos ilustra lo cerca que viven uno del otro, y el problema que esto supone. Dicho de otro modo, la información viaja de una cuadra a la otra tan pronto uno cruza la vereda de la misma manera que Beatriz está tan cerca de la casa de su amante como de la de Nadia y la suya. Es así como un transeúnte presenció el momento en que Beatriz fue agredida por Nadia y pudo informarle a Pablo, el amigo del hijo de Beatriz, a quien recurre El Brujo para encontrar a su esposa desaparecida.\n\nLos espacios interiores de <strong><em>Fango </em></strong>irradian autenticidad; ningún objeto revela su impertinencia ficcionada en la puesta en escena, sino que sugiere que estos lugares existen así tal cual se muestran, con sus escombros y suciedad impregnada, y esto los dota de una belleza genuina. En contrapartida, sus personajes declaman las líneas de diálogo con mínima entonación, o bien lo suficiente como para que se entienda lo que dicen, pero sin la exageración emocional que contaminaría con artificialidad sus actuaciones. Un saludo se dice con la misma rigidez con la que se cuenta una pérdida o con la que se termina una amistad de varios años. La cámara logra captar aquellos rasgos que no pueden ser fingidos, como el modo de hablar, la jerga, los gestos y los movimientos que define el carácter de cada persona que habita el cuadro, porque ellos, como sus viviendas, también existen fuera de <strong><em>Fango</em></strong>. Existen antes y después de la película.\n\nEn <strong><em>Fango</em></strong> se van hilando uniones entre los personajes que son tan circunstanciales como determinantes, y que a la vez embarran cualquier posibilidad de una resolución pacífica. La mera presencia del mejor amigo de Nadia en la casa de Pablo es un gesto que dilucida la causa a la cual uno se adhiere, porque se está con uno o con el otro, pero no se puede estar con ambos. La privacidad encuentra un limbo en aquellos espacios intermedios donde los personajes entran o salen de un lugar: la vereda, la antesala donde los saludos y las despedidas moldean los límites de relación incluso antes de que entablen conversación. Hay personajes que exigen una inspección previa al encuentro, o requieren contar con el aval del otro para hablar, y otros cuya presencia repentina es una sorpresa no bien recibida que genera conflicto. En estos espacios, un problema doméstico se torna en una disputa pública entre los que buscan a Beatriz y las que la esconden; lo que había iniciado como un mensaje de alerta y un problema matrimonial adquiere proporciones comunales cuando las infinitas intimidaciones no surten efecto. Para Nadia, la supuesta pérdida de su prima a causa de la angustia ocasionada por la infidelidad de su marido es imperdonable y la culpable directa de esta desgracia es la amante, y para Pablo que controla a su antojo quien transita por sus calles, esos detalles carecen de importancia cuando lo que le preocupa es ayudar a la madre de su amigo, por más que éstos ya ni se hablen. A medida que se acerca la fecha del concierto de Fango, además de la banda musical cada grupo ha tejido una red importante de allegados donde el objetivo final queda borroneado; solo resta pararse de un lado o del otro o bien dar un paso al costado y asumir por siempre la etiqueta de cobardía. Las amenazas verbales son reemplazadas por cuchillos y palos, y cuando éstos pierden su filo, por armas de fuego de construcción artesanal.\n\nLa violencia en <strong><em>Fango </em></strong>ocurre a plena luz del día y a plena vista, tal como todas las escenas de la película transcurren también de día. En estos barrios no es necesario el amparo de la oscuridad para cometer actos delictivos ni escabullirse en la propiedad de otro para matar a alguien, porque en los márgenes de la ciudad la ley es otra. La violencia se hace presente en todas las dimensiones sociales, desde la violencia de género y familiar, al dominio territorial. En este sentido, el tratamiento visual que adquieren los asesinatos es tan frontal como crudo. La piel se degolla, la sangre brota de la frente, y la carne explota al recibir los disparos; transitar estos lugares es enfrentarse a esta violencia.\n\nJosé Celestino Campusano es un director que anula los límites de la ficción y propone un relato reacio a cualquier parámetro estético o narrativo. La narración y la concepción de las imágenes parte desde una construcción colectiva e inmiscuida en el entorno periférico en el cual se sitúa. En su cine el guión no se escribe, se filma y se expande a través de las voces de la comunidad porque el interés de Campusano recae en captar aquello que hace único a una persona y a un grupo de personas. Sería ingenuo pretender que aquí los finales felices existen, tan solo son momentáneos ajustes de cuenta.','Fango (2012)','','inherit','closed','closed','','1364-revision-v1','','','2020-10-22 11:54:42','2020-10-22 14:54:42','',1364,'http://lapistoladechejov.com/2020/10/22/1364-revision-v1/',0,'revision','',0),(1341,2,'2020-09-22 14:44:49','2020-09-22 18:44:49','<h2>El sabor de la sequía.</h2>\nEn un plano extraño que contempla desde arriba la bifurcación de un túnel subterráneo, dos mujeres se cruzan. Una de ellas, vestida de enfermera, acarrea una sandía; la otra, una bolsa de plástico con lo que pareciera ser una botella de agua. El paradero de ambas se revela sin demora en un montaje que alterna el rodaje de una película pornográfica con la otra mujer acostada en el suelo con las piernas abiertas escuchando las noticias locales mientras bebe jugo de sandía. Entre gemidos y chapoteos fibrosos, la voz del reportero comenta sobre la bajada del río. Al parecer, en Taiwán no hay agua. Las autoridades sugieren consumir sandías e incitan la recolección de recipientes de plástico que podrían servir para juntar agua de lluvia.\n\nEn <em><strong>La nube errante</strong></em>, paliar la sed es lo mismo que apaciguar el apetito, sin importar a qué tipo de deseo se corresponda, sea hambre, una carencia afectiva, o una fantasía sexual. Shiang-Chyi, recién arribada a la ciudad, deambula por los espacios públicos del edificio de departamentos en busca de agua, mientras que Hsiao-Kang, el actor porno, se baña en los reservorios de las terrazas. En este universo quimérico, nada es más importante que la acumulación ceremoniosa de sandías y botellitas.\n\nEl encuentro casual de ambos es anticipado por una secuencia musical, la primera de varias, donde él, vestido de un lagarto de brillantina, se lamenta sobre su irremediable soledad. Las burbujas viajan del reservorio al grifo del baño de Shiang-Chyi y a la habitación donde ella se encuentra durmiendo con un reptil de peluche en su mano. Al día siguiente, ella se encuentra con Hsiao-Kang en un banco en la plaza. Él ya no vende más relojes, se dedica a otra cosa, ni tampoco puede abrir la valija de ella. Tras una cena de fideos y jugo de sandía, se separan. Lo que ninguno de los dos sabe es que a lo largo de la película estarán más lejos de lo que en un principio suponen.\n\nLos encuadres de <em><span style=\"font-weight: 600;\">La nube errante</span></em> abarcan espacios donde suceden cosas distintas y los contiene en una misma imagen. El uso de una lente gran angular permite comprimir una cocina y una sala, o una pieza con la otra, lo cual se corresponde a una idea de vínculo espacial forzoso o deforme en contrapartida a la desconexión emocional de sus protagonistas. Cuando Shiang-Chyi procura dormir pese a los gemidos de sus vecinos de arriba, la cámara se posiciona a sus pies, con el cielo raso acaparando la imagen. Y es en el piso encima suyo donde Hsiao-Kang se encuentra grabando una nueva película. En estos planos fragmentados que contraponen acciones divergentes, lo que sucede al otro lado permanece oculto según donde uno se encuentre, pero no para nosotros. En este sentido, observamos dos escenarios, una cocina y una sala, o incluso la misma película porno siendo grabada y luego reproducida en el televisor de Shiang-Chyi.\n\nEn la película, lo erótico está opacado en parte por la vulgaridad y en parte por la comedia. En lo grotesco, es el agua con algas y el semen que chorrea del rostro, y en lo absurdo, son semillas de sandía o tapitas de botellas que se pierden en los orificios del cuerpo. El equipo de producción de las películas pornográficas donde actúa Hsiao-Kang es tan susceptible a la escasez temporal de su público que torna cada déficit en un elemento de excitación, sea una sandía o una botella de plástico, los nuevos bienes de la sequía vueltos fálicos con la ayuda de un encuadre explícito y una luz puntual.\n\nEn <em><span style=\"font-weight: 600;\">La nube errante</span></em> las interrupciones musicales no guardan correspondencia alguna con el estado interior de las personas sino son dislocaciones mismas espolvoreadas por Tsai Ming-Liang sobre la película. A las coreografías elaboradas y a la extravagancia de los vestuarios, se le suma la fascinación del director por una pieza del disfraz que se vuelve el centro del número, como un sombrero de pene gigante sobre la cabeza de Hsiao-Kang que se mueve frenéticamente entre las mujeres vestidas con sopapas, o una mujer araña que despide fuego del ano mientras repta por el cemento.\n\nA pesar de la atracción que sienten Hsiao-Kang y Shiang-Chyi, él es incapaz de entablar una relación afectiva. La secuencia final es una agonía que exprime la incomodidad hasta que uno mismo se siente descolado con lo que está observando. Tras la muerte de la actriz porno, el equipo de producción no tiene mejor idea que continuar filmando, ni siquiera por morbo o por una excitación trastornada, sino por mera inercia. La actriz deja de ser una persona y se vuelve materia, y con el correr de los minutos, un pedazo de utilería incómodo. La puesta en escena despedaza los cuerpos de sus personajes en agujeros y miembros separados por ventadas y paredes donde el malestar se convierte en fastidio, y el fastidio en un enfado que linda entre el aburrimiento y el sarcasmo. <em><span style=\"font-weight: 600;\">La nube errante</span></em> es una película trágica y pegajosa donde el sexo no es placentero, sino son meros movimientos vacíos que se repiten hasta un eventual cambio de posición y el desencanto de la eyaculación.','La nube errante (2005)','','publish','open','open','','la-nube-errante-2005','','','2020-09-22 14:44:54','2020-09-22 18:44:54','',0,'http://lapistoladechejov.com/?p=1341',0,'post','',0),(1331,2,'2020-09-15 11:45:49','2020-09-15 15:45:49','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1329\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/09/da-five-bloods-150x150.jpg\" alt=\"da five bloods\" width=\"150\" height=\"150\" />Vazquez, A. (2020, septiembre). Violencia sobre sutileza. El espectador Imaginario, (115). <a href=\"http://www.elespectadorimaginario.com/da-5-bloods-hermanos-de-armas/\">http://www.elespectadorimaginario.com/da-5-bloods-hermanos-de-armas/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1330\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/09/first-cow-150x150.jpg\" alt=\"first cow\" width=\"150\" height=\"150\" />Vazquez, A. (2020, septiembre). Riquezas disonantes. El espectador Imaginario, (115). <a href=\"http://www.elespectadorimaginario.com/first-cow/\">http://www.elespectadorimaginario.com/first-cow/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1285\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/la-protagonista-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Sobre torpezas e incomodidades. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/la-protagonista/\">http://www.elespectadorimaginario.com/la-protagonista/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1283\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/a-russian-youth-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Entre bombas y platillos. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/a-russian-youth/\">http://www.elespectadorimaginario.com/a-russian-youth/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1287\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/the-wind-will-carry-us-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Un cálido sentimiento de existencia. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/\">http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1284\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/beapole-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Heridas descosidas. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/una-gran-mujer/\">http://www.elespectadorimaginario.com/una-gran-mujer/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1286\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/never-rarely-sometimes-always-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Ojalá que nunca. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/never-rarely-sometimes-always/\">http://www.elespectadorimaginario.com/never-rarely-sometimes-always/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1242\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/los-sonambulos-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Adormecidos bajo el calor veraniego. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/los-sonambulos/\">http://www.elespectadorimaginario.com/los-sonambulos/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1240\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/el-silencio-150x150.jpeg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Memoria y libertad. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/memoria-y-libertad/\">http://www.elespectadorimaginario.com/memoria-y-libertad/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1241\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/i-was-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Los vacíos del pero. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/estaba-en-casa-pero/\">http://www.elespectadorimaginario.com/estaba-en-casa-pero/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1093\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3-150x150.jpg\" alt=\"Bacurau\" width=\"150\" height=\"150\" /></p>\n<p>Vazquez, A. (2020, abril). Más brutal que la fantasía. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/bacurau/\">http://www.elespectadorimaginario.com/bacurau/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1175\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Amor en tiempos de mafia. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/first-love/\">http://www.elespectadorimaginario.com/first-love/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1176\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Resistiendo al tiempo. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/resistiendo-al-tiempo/\">http://www.elespectadorimaginario.com/resistiendo-al-tiempo/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1177\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Serge Daney y la Cahiers. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/\">http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1178\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). Elegante violencia al estilo neo-noir. El espectador Imaginario, (110). <a href=\"http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/\">http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1179\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). El precio del martirio. El espectador Imaginario, (110). <a href=\"https://www.elespectadorimaginario.com/vida-oculta/\">https://www.elespectadorimaginario.com/vida-oculta/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2020-09-15 11:45:49','2020-09-15 15:45:49','',812,'http://lapistoladechejov.com/2020/09/15/812-revision-v1/',0,'revision','',0),(1360,2,'2020-10-20 12:39:30','2020-10-20 15:39:30','<h2>El negocio más esperado.</h2>\nMac, un empleado de una compañía petrolífera, es enviado a un pueblito de Escocia para adquirir una gran extensión de tierra. El negocio es bastante simple: llegar, concretar y cerrar el trato. Sus trajes bien planchados y su oficina situada en la cima de un rascacielos no hacen más que evidenciar un carácter pretencioso que rige las actitudes de su entorno laboral y quizás de la clase joven media-alta a la que pertenece, aquella ansiosa por aumentar sus ingresos sin saber siquiera en qué gastarlo. Mac proyecta una imagen de hombre exitoso y adinerado, pero está tan solo que es incapaz de conseguir compañía el día antes de su viaje. A lo largo de <strong><em>Local hero</em></strong> la codicia será erosionada por las maravillas naturales del pueblo costero dejando visible la fragilidad de la soledad que lo acobija.\n\nLa llegada del americano a Ferness, el pueblito escocés, encuentra a dos personajes distintos en apariencias, pero iguales en intenciones. Por un lado, Mac, el elegido por la mesa directiva por sus supuestos orígenes escoceses, y por el otro Gordon, el contador y una suerte de representante local en las negociaciones. En <strong><em>Local hero</em></strong>, la empresa petrolera es una entidad megalómana interesada en la explotación de los recursos naturales que a sus ojos están siendo custodiados con recelo por la naturaleza. Como buen colonialista, la corporación se siente en pleno derecho de comprar lugares de interés que adquiere con tanta facilidad como si estuviera comprando una barra de chocolate. Lo curioso es que en el pueblo cada uno de los habitantes está en plena consciencia del plan, y no ofrecen resistencia alguna. Están tan despojados de cualquier sentimiento nostálgico por su lugar de origen que como espectadores somos ridiculizados por nuestros propios prejuicios.\n\nSi bien Mac sugiere ser la encarnación de ideales norteamericanos de conquista y acumulación de capital donde el valor del éxito se mide por el modelo de auto que maneja, <strong><em>Local hero </em></strong>no presenta conflicto alguno entre él y los escoceses. <em>Me solían dar migrañas manejar un Chevy</em>, Mac confiesa a Oldsen, su secretario escocés, cuando éste le comenta su facilidad con los lenguajes. Cuando se siente incómodo, Mac no puede hacer más que presumir su estatus socioeconómico ya que es la única manera que conoce de socializar con otros, para bien o para mal.\n\nUno pensaría que la presencia del foráneo sería recibida con hostilidad o que supondría una resistencia por parte de la gente local. Las reuniones clandestinas en la iglesia apuntan hacia un complot organizado, pero, sin embargo, los hombres con maletines son nada más que ceros en un cheque, y postergar el acuerdo es agregar una cifra más al número ya inconmensurable. En un principio, Mac se pasea por las calles (o mejor dicho, la calle principal) como un típico turista. Compra pasta dental, visita el muelle y se reporta a Houston con llamadas diarias que realiza desde la cabina telefónica ubicada frente al bar. Pero la impaciencia aumenta cada día que pasa, y la confianza de los pueblerinos depositada en Gordon se va diluyendo. Tanta espera pareciera sugerir que las tratativas de la compra están puestas en pausa, y en cierta manera lo están, porque la compra nunca llega a concretarse, ni siquiera se define si el pago será en dólares o en libras.\n\nA medida que transcurren los días de espera, las caminatas en la playa se vuelven más frecuentes hasta que las olas y la arena conforman el escenario preponderante de la historia. <strong><em>Local hero </em></strong>observa los exteriores ya no con indiferencia sino con pura fascinación por los colores que arroja un atardecer o por los destellos luminosos de una lluvia de meteoritos, algo insólito tanto para nosotros como para un citadino acostumbrado al cielo infectado por la contaminación visual. Mac se deja de afeitar y reemplaza el blazer de su traje por un buzo de lana beige más acorde al clima y en combinación con la moda local. Por descuido, mientras juntaba caracoles, la marea alta lleva consigo su reloj alarma y con este objeto su estricto horario estadounidense regido por reuniones y entregas de informes. <em>El cielo está haciendo cosas increíbles</em>, grita Mac por el teléfono al jefe de la empresa, el Sr. Happer, embelesado al ver la aurora boreal sobre el cielo de Ferness. Curiosamente, a pesar de haberse integrado al paisaje, Mac insiste con la compra de la playa, quizás en un intento desesperado de deshacerse de aquello que nunca podrá tener.\n\nCuando las negociaciones con el ermitaño que habita en la playa se topan en un callejón sin salida, solo el Sr. Happer podrá remendar la situación. Su arribo en helicóptero nos recuerda que Mac alguna vez fue él, de traje y maletín eléctrico, y que por más curtido que esté incluso por el humor local, cambiar su vida por la de Gordon es un sueño imposible. Al final de la película, Mac abandona la playa sin pena ni gloria ante la mirada agridulce de quienes aprendieron a estimarlo. La planta de explotación es ahora un observatorio, nadie tendrá que abandonar su hogar. En cierta manera el desenlace debería ser alegre, pero no es así. En su departamento, Mac vacía los bolsillos llenos de piedritas y objetos recolectados de la playa, y coloca fotografías sobre un tablero de corcho junto los demás recuerdos de su viaje. Pero este no fue un viaje más y su departamento se siente más impersonal que antes. El cielo en Houston es muy distinto al de Ferness y los ruidos de la ciudad ensucian la vista. ¿Habrá alguien del otro lado del teléfono que esté esperando su llamada o es él que espera una llamada en su nuevo hogar?','Local Hero (1983)','','publish','open','open','','local-hero-1983','','','2020-10-20 12:39:37','2020-10-20 15:39:37','',0,'http://lapistoladechejov.com/?p=1360',0,'post','',0),(1361,2,'2020-10-20 12:36:27','2020-10-20 15:36:27','Local hero','local hero','','inherit','open','closed','','local-hero','','','2020-10-20 12:37:40','2020-10-20 15:37:40','',1360,'http://lapistoladechejov.com/wp-content/uploads/2020/10/local-hero.jpg',0,'attachment','image/jpeg',0),(1362,2,'2020-10-20 12:37:48','2020-10-20 15:37:48','<h2>El negocio más esperado</h2>\nMac, un empleado de una compañía petrolífera, es enviado a un pueblito de Escocia para adquirir una gran extensión de tierra. El negocio es bastante simple: llegar, concretar y cerrar el trato. Sus trajes bien planchados y su oficina situada en la cima de un rascacielos no hacen más que evidenciar un carácter pretencioso que rige las actitudes de su entorno laboral y quizás de la clase joven media-alta a la que pertenece, aquella ansiosa por aumentar sus ingresos sin saber siquiera en qué gastarlo. Mac proyecta una imagen de hombre exitoso y adinerado, pero está tan solo que es incapaz de conseguir compañía el día antes de su viaje. A lo largo de <strong><em>Local hero</em></strong> la codicia será erosionada por las maravillas naturales del pueblo costero dejando visible la fragilidad de la soledad que lo acobija.\n\nLa llegada del americano a Ferness, el pueblito escocés, encuentra a dos personajes distintos en apariencias, pero iguales en intenciones. Por un lado, Mac, el elegido por la mesa directiva por sus supuestos orígenes escoceses, y por el otro Gordon, el contador y una suerte de representante local en las negociaciones. En <strong><em>Local hero</em></strong>, la empresa petrolera es una entidad megalómana interesada en la explotación de los recursos naturales que a sus ojos están siendo custodiados con recelo por la naturaleza. Como buen colonialista, la corporación se siente en pleno derecho de comprar lugares de interés que adquiere con tanta facilidad como si estuviera comprando una barra de chocolate. Lo curioso es que en el pueblo cada uno de los habitantes está en plena consciencia del plan, y no ofrecen resistencia alguna. Están tan despojados de cualquier sentimiento nostálgico por su lugar de origen que como espectadores somos ridiculizados por nuestros propios prejuicios.\n\nSi bien Mac sugiere ser la encarnación de ideales norteamericanos de conquista y acumulación de capital donde el valor del éxito se mide por el modelo de auto que maneja, <strong><em>Local hero </em></strong>no presenta conflicto alguno entre él y los escoceses. <em>Me solían dar migrañas manejar un Chevy</em>, Mac confiesa a Oldsen, su secretario escocés, cuando éste le comenta su facilidad con los lenguajes. Cuando se siente incómodo, Mac no puede hacer más que presumir su estatus socioeconómico ya que es la única manera que conoce de socializar con otros, para bien o para mal.\n\nUno pensaría que la presencia del foráneo sería recibida con hostilidad o que supondría una resistencia por parte de la gente local. Las reuniones clandestinas en la iglesia apuntan hacia un complot organizado, pero, sin embargo, los hombres con maletines son nada más que ceros en un cheque, y postergar el acuerdo es agregar una cifra más al número ya inconmensurable. En un principio, Mac se pasea por las calles (o mejor dicho, la calle principal) como un típico turista. Compra pasta dental, visita el muelle y se reporta a Houston con llamadas diarias que realiza desde la cabina telefónica ubicada frente al bar. Pero la impaciencia aumenta cada día que pasa, y la confianza de los pueblerinos depositada en Gordon se va diluyendo. Tanta espera pareciera sugerir que las tratativas de la compra están puestas en pausa, y en cierta manera lo están, porque la compra nunca llega a concretarse, ni siquiera se define si el pago será en dólares o en libras.\n\nA medida que transcurren los días de espera, las caminatas en la playa se vuelven más frecuentes hasta que las olas y la arena conforman el escenario preponderante de la historia. <strong><em>Local hero </em></strong>observa los exteriores ya no con indiferencia sino con pura fascinación por los colores que arroja un atardecer o por los destellos luminosos de una lluvia de meteoritos, algo insólito tanto para nosotros como para un citadino acostumbrado al cielo infectado por la contaminación visual. Mac se deja de afeitar y reemplaza el blazer de su traje por un buzo de lana beige más acorde al clima y en combinación con la moda local. Por descuido, mientras juntaba caracoles, la marea alta lleva consigo su reloj alarma y con este objeto su estricto horario estadounidense regido por reuniones y entregas de informes. <em>El cielo está haciendo cosas increíbles</em>, grita Mac por el teléfono al jefe de la empresa, el Sr. Happer, embelesado al ver la aurora boreal sobre el cielo de Ferness. Curiosamente, a pesar de haberse integrado al paisaje, Mac insiste con la compra de la playa, quizás en un intento desesperado de deshacerse de aquello que nunca podrá tener.\n\nCuando las negociaciones con el ermitaño que habita en la playa se topan en un callejón sin salida, solo el Sr. Happer podrá remendar la situación. Su arribo en helicóptero nos recuerda que Mac alguna vez fue él, de traje y maletín eléctrico, y que por más curtido que esté incluso por el humor local, cambiar su vida por la de Gordon es un sueño imposible. Al final de la película, Mac abandona la playa sin pena ni gloria ante la mirada agridulce de quienes aprendieron a estimarlo. La planta de explotación es ahora un observatorio, nadie tendrá que abandonar su hogar. En cierta manera el desenlace debería ser alegre, pero no es así. En su departamento, Mac vacía los bolsillos llenos de piedritas y objetos recolectados de la playa, y coloca fotografías sobre un tablero de corcho junto los demás recuerdos de su viaje. Pero este no fue un viaje más y su departamento se siente más impersonal que antes. El cielo en Houston es muy distinto al de Ferness y los ruidos de la ciudad ensucian la vista. ¿Habrá alguien del otro lado del teléfono que esté esperando su llamada o es él que espera una llamada en su nuevo hogar?','Local Hero (1983)','','inherit','closed','closed','','1360-revision-v1','','','2020-10-20 12:37:48','2020-10-20 15:37:48','',1360,'http://lapistoladechejov.com/2020/10/20/1360-revision-v1/',0,'revision','',0),(1329,2,'2020-09-15 11:43:10','2020-09-15 15:43:10','','da five bloods','','inherit','open','closed','','da-five-bloods','','','2020-09-15 11:43:23','2020-09-15 15:43:23','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/09/da-five-bloods.jpg',0,'attachment','image/jpeg',0),(1330,2,'2020-09-15 11:43:15','2020-09-15 15:43:15','','first cow','','inherit','open','closed','','first-cow','','','2020-09-15 11:43:37','2020-09-15 15:43:37','',812,'http://lapistoladechejov.com/wp-content/uploads/2020/09/first-cow.jpg',0,'attachment','image/jpeg',0),(1334,2,'2020-09-15 11:57:35','2020-09-15 15:57:35','<h2>Palabras pícaras.</h2>\nUna decena de policías se reúnen para escuchar las directivas del comisario. Con severidad en su voz, el jefe afirma que el aire maravilloso trae problemas de todos lados. Al parecer, la primavera es una estación peligrosa en París, y los policías lo saben. Algo tan tremendo ocurre en los parques que urge la limpieza de los espacios públicos. Pero no son actos delictivos, ni tampoco violentos; es el mero encuentro de amantes que aprovechan la oscuridad para encuentros casuales. En <strong><em>Una hora contigo </em></strong>el humor se aprovecha de ese pequeño lapso de tiempo donde las cosas no se dicen y que por el contrario, por un breve instante, se estimula fantasías que se cumplen en nuestro imaginario.\n\nTras la alerta expresa del aire lujurioso que dominará el actuar de sus personajes, la trama se resume de la siguiente manera. El Dr. André Bertier está felizmente casado con Colette, esto lo remarca varias veces y mirando a cámara en un diálogo que establece con nosotros. Los Bertier viven un idilio matrimonial donde abunda el amor y el sexo. Pero la irrupción casual de Mitzi Olivier, la mejor amiga de Colette, pondrá a prueba la fidelidad de la pareja, pues ella intentará a toda costa seducir al doctor. Por su parte, Adolph, el mejor amigo de André, arde de deseo por Colette, y el profesor Olivier, esposo de Mitzi, solo quiere el divorcio, el único inmune al romanticismo francés. Para hacerlo, contrata a un detective privado para recolectar las pruebas que pudiesen oficializar su separación en la corte. Los deseos no siempre se corresponden, sino que se van enredando y cruzando en un juego de secretos coquetos y encuentros protocolares.\n\nAndré y Mitzi se conocen en un taxi. Pero para el mundo en el que habitan, dos extraños que comparten un viaje es sinónimo de adulterio. En un ida y vuelta de un par de líneas de diálogo que van de comentarios sobre las noticias locales a indagaciones sobre el estado marital de cada uno, Mitzi sentencia un ultimátum: que el doctor suelte el periódico y se enfrente a los hechos. Poco sabía André que la desconocida era su invitada para el almuerzo, y poco sabíamos nosotros que a partir de esta secuencia cada palabra y gesto tendría una connotación sexual. Pero me estoy adelantando, volvamos al relato.\n\nLuego de que André haya saltado del taxi, Mitzi llega a la casa de los Bertier. Las amigas se saludan con un afectuoso beso. Entre que se ponen al día y conversan sobre los amantes de Mitzi, Colette le hace un tour de la casa por los lugares más importantes, perdón un solo lugar, la habitación. Ella le muestra la cama y su cajón de lencería, a lo que Mitzi tienta que tanta ropa interior para un solo hombre es un desperdicio. Y hablando del marido, Mitzi descubre el pijama de André sobre una percha al que curiosamente le falta la parte de abajo. Ay disculpa, dice ella por el atrevimiento y las amigas retoman las risitas como si no se hubieran referido al marido de Colette desnudo de cintura para abajo.\n\nOtro momento embarazoso. Tras la presentación oficial de Mitzi, las dos mujeres contemplan al doctor. Una dice que es un amor, la otra que es bonito. André solo murmura avergonzado que por favor paren. Colette se acerca a Mitzi y le susurra algo al oído. Al escuchar sus palabras, Mitzi frunce el ceño y sonríe. Su mirada se enciende mientras que la esposa del doctor se muerde el labio y le susurra otro secreto. Atónito, André las observa. Ni él ni nosotros tenemos idea de lo que las mujeres están diciendo, dependemos únicamente de sus miradas traviesas. Tras un intercambio de secretos y reacciones que involucra cejas levantadas, preguntas de afirmación y hasta un pedido expreso de permiso, Mitzi desea ver cómo el Dr. puede hacer lo que hace. Pero esta habilidad dista de ser cualquier conjetura posible sobre las destrezas o los atributos del hombre. Al parecer André es habilidoso en imitar a un búho. Sí, un búho.\n\n<strong><em>Una hora contigo </em></strong>está plagada de momentos pícaros como este que no se resguardan del pudor. Es, además de burlona, irónica. Cuando la conversación de las amigas va desde un cuchicheo inentendible a intercambios en versos que además riman, el diálogo entre el Profesor Olivier y el Dr. Bertier se reduce a risas torpes y a una incapacidad absoluta de pronunciar palabras. La eventual resolución de los dilemas matrimoniales sucede en una suerte de reproche mutuo, un beso por el otro y un final empatado donde André y Colette conversan con el público. Si ella fuera tu esposa, dice él, y él tu marido, dice ella, harían lo mismo, porque si en algo se ponen de acuerdo es que el amor y el sexo son cuestiones separadas.\n\nPodemos debatir si en realidad estaban a mano, pero a pesar de todo, <strong><em>Una hora contigo </em></strong>nunca pierde su viveza; el ingenio del relato surge en la incomodidad suspendida, en el misterio jocoso que genera sonrisas sin afirmar ni negar y que juega con el puro deleite de las palabras con doble sentido, un poco como la imagen de Adolph vistiendo una calza responde sin decirlo al placer del mayordomo.','Una hora contigo (1932)','','publish','open','open','','una-hora-contigo-1932','','','2020-09-15 11:57:41','2020-09-15 15:57:41','',0,'http://lapistoladechejov.com/?p=1334',0,'post','',0),(1327,2,'2020-09-10 11:04:55','2020-09-10 15:04:55','<h2>Sinfonía de brasas.</h2>\nNegro carbón, negro azabache y negro petróleo; el oro negro. Tras una placa de texto que describe el colapso del universo como un esplendor grandioso, las primeras notas de viento de <em>El oro del Rhin</em> de Wagner empiezan a sonar. En la imagen, paisajes de nubes grises se anteceden al naranja que emana la combustión de petróleo. La ópera apocalíptica acaba de comenzar y la ciudad se despide con un lamento de sirenas y explosiones silenciosas.\n\nDespués de la batalla, las personas entrevistadas en <strong><em>Lecciones en la oscuridad</em></strong> han perdido el habla. La primera persona con quien se encuentra Werner Herzog y su equipo se dirige a ellos con señas. Parado frente a una casilla a unos cuantos metros de distancia de una boca incendiada, un bombero hace un gesto que indica algo hacia la izquierda seguido de un movimiento de mano que corta su cuello en el aire, como advertencia de muerte, o por la presencia de la cámara, una indicación que orienta la mirada hacia algo que él considera que debería ser filmado.\n\nEl siguiente personaje es una mujer que fue obligada a presenciar la tortura y muerte de sus dos hijos. Ella balbucea palabras incoherentes frente a cámara, intenta hablar pero no puede. Mira hacia arriba, besa sus manos y se lamenta. No habla, pero su dolor se percibe igual. Un tercer personaje silente: un niño que por voluntad propia se resiste a aprender a hablar luego de ser pisoteado y amenazado a punta de pistola por un soldado. El niño se esconde detrás de su madre, es ella la que habla por él, y él sólo contempla a los intrusos con disgusto en los ojos. La atrocidad ha derrumbado la voz de las víctimas con la misma eficacia con la que las bombas han pulverizado las ciudades. Donde el horror fue tal, las palabras desfallecen frente a la oscuridad. Del mismo modo, el despliegue de los instrumentos de tortura rebasa el límite del léxico existente para referirse a lo inhumano de la guerra. Ante esta ineficiencia del lenguaje hablado es la música y la imagen la que nos sumerge en un ambiente apesadumbrado y putrefacto.\n\nHerzog se adentra en Kuwait desde arriba sobrevolando los lagos de petróleo como si fueran escenarios dotados de una belleza exuberante cuando lo que descubre es lo opuesto, cortinas de humo que cubren el horizonte y el fuego incesante de los incendios. El espacio es un desierto de animales muertos y maquinaria abandonada. La cadencia de la contemplación mece. Es imposible determinar dónde empieza y dónde termina la catástrofe, y su magnitud se vuelve sublime. Las imágenes trazan el rastro de las rutas y se pierden en ellas en fundidos tan hipnóticos que las llamas se mezclan con el cielo. Las notas disonantes suspenden los agudos antes de introducir el estruendo del trombón que glorifica la destrucción como algo inabarcable ni concebible en el orden de las magnitudes de las proporciones humanas. Una vez en el suelo, la atención se centra sobre la labor física de los bomberos y las maquinarias de soporte que ellos manipulan como si fueran extensiones de su propio cuerpo. Tal como ellos se mojan el cuerpo, las palas de los tractores reciben chorros de agua para evitar sobrecalentarse.\n\n<strong><em>Lecciones en la oscuridad</em></strong> se interesa más por el movimiento de las ruedas sobre el lodo que pretender explicar cómo se apaga un fuego petrolero; lo físico, lo palpable por sobre las palabras; las notas musicales por sobre el diálogo. Aquí, ni las máquinas ni los hombres hablan. Pareciera que actúan por inercia, por una orden que siguen a rajatabla sin hacer preguntas. A la vez, la reiteración del movimiento es una constante. Los camiones llevan arena, los hombres arrojan agua, y el fuego sigue ardiendo. El aceite que hierve y se desplaza por los surcos conforma una danza de formas amorfas que adquieren vida propia antes de convertirse en fósiles porque si la humanidad ha desaparecido, la naturaleza tampoco existe, o al menos es otra, una negra de hierro y petróleo. Por otro lado, las imágenes del humo buscan desesperadamente al sol con la misma insistencia en que los hombres intentan día tras día contener un incendio.\n\nCon la maquinaria, aparecen las voces de las cantantes de ópera que acompasa el ondular de las llamas. Es difícil saber si las imágenes acompañan a la música o si la música ha definido los cortes. Lo humano, en un relato cantado en otro idioma, promete una resolución; si el hombre es capaz de destruir, es también capaz de componer obras que trascienden el tiempo. Conforme las imágenes aterrizan sobre el suelo, emergen otros ruidos, como el burbujeo del petróleo o el desplazamiento de los camiones, que se tornan insignificantes frente al incesante chorro de agua que inunda el campo sonoro.\n\nHacia el final de la película, lo que parecía imposible se hace realidad: una fuga ha sido contenida. Cuando el último perno se ajusta, el silencio es sepulcral. Los hombres se dan la mano festejando el triunfo, pero no dicen nada. Y aquí, ocurre algo curioso. Tan pronto se apaga un incendio, en cámara lenta, dos hombres lanzan al aire un papel en llamas por encima de una cañería de petróleo. Inmediatamente las llamas se prenden como un mechero gigante. De pronto, sus vidas vuelven a tener sentido, afirma una voz en off. En <strong><em>Lecciones en la oscuridad, </em></strong>Herzog filma donde la luz no llega, valiéndose de melodías como linternas en los confines del mundo donde el negro todo lo usurpa hasta que lágrimas negras brotan de nuestros ojos y de nuestros oídos. Si algo nos ha enseñado a través de estas lecciones, es que la oscuridad es infinita como el universo. Con la voz soprano de la sinfonía coral de Mahler, la película se declara incapaz de comprender la locura humana o al menos al hombre sin guerras.','Lecciones en la oscuridad (1992)','','inherit','closed','closed','','1325-revision-v1','','','2020-09-10 11:04:55','2020-09-10 15:04:55','',1325,'http://lapistoladechejov.com/2020/09/10/1325-revision-v1/',0,'revision','',0),(1325,2,'2020-09-10 11:05:22','2020-09-10 15:05:22','<h2>Sinfonía de brasas.</h2>\nNegro carbón, negro azabache y negro petróleo; el oro negro. Tras una placa de texto que describe el colapso del universo como un esplendor grandioso, las primeras notas de viento de <em>El oro del Rhin</em> de Wagner empiezan a sonar. En la imagen, paisajes de nubes grises se anteceden al naranja que emana la combustión de petróleo. La ópera apocalíptica acaba de comenzar y la ciudad se despide con un lamento de sirenas y explosiones silenciosas.\n\nDespués de la batalla, las personas entrevistadas en <strong><em>Lecciones en la oscuridad</em></strong> han perdido el habla. La primera persona con quien se encuentra Werner Herzog y su equipo se dirige a ellos con señas. Parado frente a una casilla a unos cuantos metros de distancia de una boca incendiada, un bombero hace un gesto que indica algo hacia la izquierda seguido de un movimiento de mano que corta su cuello en el aire, como advertencia de muerte, o por la presencia de la cámara, una indicación que orienta la mirada hacia algo que él considera que debería ser filmado.\n\nEl siguiente personaje es una mujer que fue obligada a presenciar la tortura y muerte de sus dos hijos. Ella balbucea palabras incoherentes frente a cámara, intenta hablar pero no puede. Mira hacia arriba, besa sus manos y se lamenta. No habla, pero su dolor se percibe igual. Un tercer personaje silente: un niño que por voluntad propia se resiste a aprender a hablar luego de ser pisoteado y amenazado a punta de pistola por un soldado. El niño se esconde detrás de su madre, es ella la que habla por él, y él sólo contempla a los intrusos con disgusto en los ojos. La atrocidad ha derrumbado la voz de las víctimas con la misma eficacia con la que las bombas han pulverizado las ciudades. Donde el horror fue tal, las palabras desfallecen frente a la oscuridad. Del mismo modo, el despliegue de los instrumentos de tortura rebasa el límite del léxico existente para referirse a lo inhumano de la guerra. Ante esta ineficiencia del lenguaje hablado es la música y la imagen la que nos sumerge en un ambiente apesadumbrado y putrefacto.\n\nHerzog se adentra en Kuwait desde arriba sobrevolando los lagos de petróleo como si fueran escenarios dotados de una belleza exuberante cuando lo que descubre es lo opuesto, cortinas de humo que cubren el horizonte y el fuego incesante de los incendios. El espacio es un desierto de animales muertos y maquinaria abandonada. La cadencia de la contemplación mece. Es imposible determinar dónde empieza y dónde termina la catástrofe, y su magnitud se vuelve sublime. Las imágenes trazan el rastro de las rutas y se pierden en ellas en fundidos tan hipnóticos que las llamas se mezclan con el cielo. Las notas disonantes suspenden los agudos antes de introducir el estruendo del trombón que glorifica la destrucción como algo inabarcable ni concebible en el orden de las magnitudes de las proporciones humanas. Una vez en el suelo, la atención se centra sobre la labor física de los bomberos y las maquinarias de soporte que ellos manipulan como si fueran extensiones de su propio cuerpo. Tal como ellos se mojan el cuerpo, las palas de los tractores reciben chorros de agua para evitar sobrecalentarse.\n\n<strong><em>Lecciones en la oscuridad</em></strong> se interesa más por el movimiento de las ruedas sobre el lodo que pretender explicar cómo se apaga un fuego petrolero; lo físico, lo palpable por sobre las palabras; las notas musicales por sobre el diálogo. Aquí, ni las máquinas ni los hombres hablan. Pareciera que actúan por inercia, por una orden que siguen a rajatabla sin hacer preguntas. A la vez, la reiteración del movimiento es una constante. Los camiones llevan arena, los hombres arrojan agua, y el fuego sigue ardiendo. El aceite que hierve y se desplaza por los surcos conforma una danza de formas amorfas que adquieren vida propia antes de convertirse en fósiles porque si la humanidad ha desaparecido, la naturaleza tampoco existe, o al menos es otra, una negra de hierro y petróleo. Por otro lado, las imágenes del humo buscan desesperadamente al sol con la misma insistencia en que los hombres intentan día tras día contener un incendio.\n\nCon la maquinaria, aparecen las voces de las cantantes de ópera que acompasa el ondular de las llamas. Es difícil saber si las imágenes acompañan a la música o si la música ha definido los cortes. Lo humano, en un relato cantado en otro idioma, promete una resolución; si el hombre es capaz de destruir, es también capaz de componer obras que trascienden el tiempo. Conforme las imágenes aterrizan sobre el suelo, emergen otros ruidos, como el burbujeo del petróleo o el desplazamiento de los camiones, que se tornan insignificantes frente al incesante chorro de agua que inunda el campo sonoro.\n\nHacia el final de la película, lo que parecía imposible se hace realidad: una fuga ha sido contenida. Cuando el último perno se ajusta, el silencio es sepulcral. Los hombres se dan la mano festejando el triunfo, pero no dicen nada. Y aquí, ocurre algo curioso. Tan pronto se apaga un incendio, en cámara lenta, dos hombres lanzan al aire un papel en llamas por encima de una cañería de petróleo. Inmediatamente las llamas se prenden como un mechero gigante. De pronto, sus vidas vuelven a tener sentido, afirma una voz en off. En <strong><em>Lecciones en la oscuridad, </em></strong>Herzog filma donde la luz no llega, valiéndose de melodías como linternas en los confines del mundo donde el negro todo lo usurpa hasta que lágrimas negras brotan de nuestros ojos y de nuestros oídos. Si algo nos ha enseñado a través de estas lecciones, es que la oscuridad es infinita como el universo. Con la voz soprano de la sinfonía coral de Mahler, la película se declara incapaz de comprender la locura humana o al menos al hombre sin guerras.','Lecciones en la oscuridad (1992)','','publish','open','open','','lecciones-en-la-oscuridad-1992','','','2020-09-10 11:05:27','2020-09-10 15:05:27','',0,'http://lapistoladechejov.com/?p=1325',0,'post','',0),(1326,2,'2020-09-10 11:04:36','2020-09-10 15:04:36','lecciones en la oscuridad','lektionen-in-finsternis','','inherit','open','closed','','lektionen-in-finsternis','','','2020-09-10 11:04:51','2020-09-10 15:04:51','',1325,'http://lapistoladechejov.com/wp-content/uploads/2020/09/lektionen-in-finsternis.jpeg',0,'attachment','image/jpeg',0),(1323,2,'2020-09-08 14:53:04','2020-09-08 18:53:04','Les anges du péché','les anges','','inherit','open','closed','','les-anges','','','2020-09-08 14:53:21','2020-09-08 18:53:21','',1322,'http://lapistoladechejov.com/wp-content/uploads/2020/09/les-anges.jpg',0,'attachment','image/jpeg',0),(1324,2,'2020-09-08 14:54:58','2020-09-08 18:54:58','<h2>Hacia la absolución.</h2>\nLa secuencia inicial que nos introduce al convento donde se ambienta <strong><em>Los ángeles del pecado </em></strong>es una secuencia atípica. En medio de la noche, una monja hace sonar una campana. Puerta por puerta, despierta a las demás monjas. En su despacho, la Madre Superiora recibe una llamada y pregunta por aquel chofer tan alto y tan fiel. Un consejo selecto de monjas se reúne en privado y estudia un mapa. <em>Hice un croquis para que el error de la última vez no se repita</em>, afirma la Madre con orgullo, tras lo cual explica el plan. Habla de señas de luces, linternas y un ex boxeador, y asegura que no existe motivo alguno para tener miedo. Antes de partir, la Madre Superiora pide a las monjas una oración para asegurar el éxito de su empresa. Un lento travelling acompaña su salida mientras se retiran de la iglesia y atraviesan una reja de barrotes verticales.\n\nUna vez afuera, dos siluetas negras se deslizan al interior de una cárcel. De un espacio cerrado a otro. En confabulación con los guardias, las monjas retiran a una mujer y la esconden de unos maleantes que la esperaban afuera. Si en el convento las rejas se abrían de par en par con la partida de las Hermanas, en este segundo espacio la cámara observa su arribo a través de ellas pues no se abren con tanta facilidad; aquí responden a otro dueño. Al salir a la calle, las monjas son perseguidas por unos hombres trajeados. Estamos fuera del convento y las reglas son otras, las cruces no pueden detener armas de fuego. La incertidumbre se apodera del relato, y el alto contraste visual evoca una película de cine negro con sombreros, gabardinas y pistolas.\n\nAsí como su nombre lo propone, en <strong><em>Los ángeles del pecado </em></strong>existe un lazo tácito entre cárcel y convento, ángel y pecado, donde las semejanzas y diferencias de ambos espacios están en permanente diálogo cuestionando la noción de encierro y libertad. Tal como en las escenas descritas anteriormente las monjas parecieran invadir un escenario que no es de ellos, dentro del convento sus protagonistas serán alteradas por la envidia y el recelo, emociones ajenas quizás a este ambiente impoluto. Con la llegada de Anne-Marie, una mujer pudiente que se interna en el convento, llegaremos a comprender que las monjas que allí residen son -en su mayoría- ex presidiarias y que las mismas Hermanas se encargan de rehabilitarlas. Al salir de la cárcel, las mujeres encuentran cobijo entre los muros silenciosos del noviciado, un lugar de perdón donde todas ingresan con los mismos derechos y compromisos religiosos. Pareciera que el periodo de libertad condicional tiene lugar en el monasterio, o mejor dicho, el monasterio es para muchas y si no la mayoría, el único lugar donde vivir libre, bajo la condición de entregar el cuerpo a Dios y ser admitida por las demás Hermanas tras un año de prueba.\n\nDe una celda a una pieza, en <strong><em>Los ángeles del pecado </em></strong>abundan las vallas visuales. Las sombras horizontales y verticales son una constante en la imagen, sean éstas producidas por una persiana, una baranda o los marcos de los ventanales. El blanco de la vestidura de las novicias se ve corrompido cada tanto por estas líneas que recuerda que existe un afuera y un adentro, y por ende hay mujeres como Anne-Marie que eligen esta vida y otras que lo usan como parte del plan de escape, como Thérèse, una mujer acusada de homicidio injustamente.\n\nLa fascinación casi obsesiva de Anne-Marie con Thérèse será el catalizador para una serie de conflictos y enfrentamientos entre las Hermanas, porque a pesar de la naturaleza de los espacios por donde transitan, la cárcel y el convento, la individualidad de una no puede suprimirse del todo. En la cárcel los nombres se reemplazan por números, y en convento, bajo la tutela de las madres, las novicias abandonan viejos hábitos para vestir otro tipo de hábito, una indumentaria que uniforma y que reduce, a la vez que impide la intromisión de cualquier rasgo físico que pudiera abrir el camino de la vanidad, pero los actos impulsivos como robar un espejo no pueden controlarse. En la cárcel, no todas las condenadas reciben la palabra de Dios con entrega porque también existen las acusadas por error, y en el convento no todas las mujeres practican lo que predican porque emergen rivalidades entre bandos, como si se forjaran pandillas.\n\nEn el convento, culpables; en la cárcel, inocentes. En este sentido, <strong><em>Los ángeles del pecado </em></strong>contrapone a estas dos mujeres incompatibles, Anne-Marie, la que renuncia a los privilegios de su clase para rescatar a otras, y Thérèse, la que se resiste a la salvación religiosa, y que obra en pos de la venganza. Para ella, la liberación es un ajuste de cuentas, con intereses incluidos. La obsesión de la hermana por rescatarla encuentra su rival en la resistencia de esta mujer problemática quien hace lo posible para librarse del hostigamiento de ella. El tormento que invade la comunidad no adopta la forma de gritos desesperados como lo había hecho en la cárcel, sino son acciones silentes, como el acariciar o no al gato o el tropezón que por descuido echa leña al piso. Los rituales parsimoniosos de las mujeres se ven alterados por cuchicheos en los pasillos y pequeños actos vandálicos que irrumpen la paz más allá del momento de intercambio de chistes inocentes.\n\nLos lentos fundidos de transición entre una imagen y la otra fusionan los muros de la prisión con las paredes del convento como si fueran uno solo, barreras de protección frente a espacios hostiles de no aceptación. <strong><em>Los ángeles del pecado </em></strong>omite la existencia de una vida fuera del encierro porque la reclusión no es sinónimo de carencia, sino todo lo contrario. Por otro lado, los personajes secundarios a la historia, como el vendedor de armas o el amante de Thérèse son figuras desechadas que permanecen únicamente fuera de campo como una voz o una silueta desenfocada. Solo en contadas escenas se permite abandonar estos lugares, pero cuando lo hace las consecuencias son devastadoras. Cuando Thérèse es puesta en libertad, asesina al que la había incriminado; cuando Anne-Marie abandona el convento, se pierde en el bosque y cae enferma.\n\nLos policías encuentran a Thérèse casi al mismo tiempo en el que una desahuciada Anne-Marie es atendida por las Hermanas. Los rectores de ambas instituciones se encuentran al fin en un mismo plano en el momento preciso en que sus protagonistas deciden librarse de los grilletes que las aprisionan. Para Anne Marie, la emancipación será en su muerte, con la proclamación del juramento que entrega su vida a las reglas del convento. Lo que en vida tanto había anhelado lo consigue mientras cierra sus ojos y cae en la cama. Thérèse, por su parte, quien debió completar las palabras del voto, abandona su secreto y baja las escaleras que la conduce a enfrentar su condena. Un travelling acompaña su marcha peldaño a peldaño, y la cámara desciende desde su rostro a sus manos que se cruzan para recibir la absolución, porque para ella, la salvación yace en la pena.\n\nEn el plano final, <strong><em>Los ángeles del pecado</em></strong> acaricia la libertad alcanzada a pesar del encierro físico porque para Bresson, la vocación espiritual es, en última instancia, el único camino aparente para la redención.','Les anges du péché (1943)','','inherit','closed','closed','','1322-revision-v1','','','2020-09-08 14:54:58','2020-09-08 18:54:58','',1322,'http://lapistoladechejov.com/2020/09/08/1322-revision-v1/',0,'revision','',0),(1322,2,'2020-09-08 14:55:54','2020-09-08 18:55:54','<h2>Hacia la absolución.</h2>\nLa secuencia inicial que nos introduce al convento donde se ambienta <strong><em>Los ángeles del pecado </em></strong>es una secuencia atípica. En medio de la noche, una monja hace sonar una campana. Puerta por puerta, despierta a las demás monjas. En su despacho, la Madre Superiora recibe una llamada y pregunta por aquel chofer tan alto y tan fiel. Un consejo selecto de monjas se reúne en privado y estudia un mapa. <em>Hice un croquis para que el error de la última vez no se repita</em>, afirma la Madre con orgullo, tras lo cual explica el plan. Habla de señas de luces, linternas y un ex boxeador, y asegura que no existe motivo alguno para tener miedo. Antes de partir, la Madre Superiora pide a las monjas una oración para asegurar el éxito de su empresa. Un lento travelling acompaña su salida mientras se retiran de la iglesia y atraviesan una reja de barrotes verticales.\n\nUna vez afuera, dos siluetas negras se deslizan al interior de una cárcel. De un espacio cerrado a otro. En confabulación con los guardias, las monjas retiran a una mujer y la esconden de unos maleantes que la esperaban afuera. Si en el convento las rejas se abrían de par en par con la partida de las Hermanas, en este segundo espacio la cámara observa su arribo a través de ellas pues no se abren con tanta facilidad; aquí responden a otro dueño. Al salir a la calle, las monjas son perseguidas por unos hombres trajeados. Estamos fuera del convento y las reglas son otras, las cruces no pueden detener armas de fuego. La incertidumbre se apodera del relato, y el alto contraste visual evoca una película de cine negro con sombreros, gabardinas y pistolas.\n\nAsí como su nombre lo propone, en <strong><em>Los ángeles del pecado </em></strong>existe un lazo tácito entre cárcel y convento, ángel y pecado, donde las semejanzas y diferencias de ambos espacios están en permanente diálogo cuestionando la noción de encierro y libertad. Tal como en las escenas descritas anteriormente las monjas parecieran invadir un escenario que no es de ellos, dentro del convento sus protagonistas serán alteradas por la envidia y el recelo, emociones ajenas quizás a este ambiente impoluto. Con la llegada de Anne-Marie, una mujer pudiente que se interna en el convento, llegaremos a comprender que las monjas que allí residen son -en su mayoría- ex presidiarias y que las mismas Hermanas se encargan de rehabilitarlas. Al salir de la cárcel, las mujeres encuentran cobijo entre los muros silenciosos del noviciado, un lugar de perdón donde todas ingresan con los mismos derechos y compromisos religiosos. Pareciera que el periodo de libertad condicional tiene lugar en el monasterio, o mejor dicho, el monasterio es para muchas y si no la mayoría, el único lugar donde vivir libre, bajo la condición de entregar el cuerpo a Dios y ser admitida por las demás Hermanas tras un año de prueba.\n\nDe una celda a una pieza, en <strong><em>Los ángeles del pecado </em></strong>abundan las vallas visuales. Las sombras horizontales y verticales son una constante en la imagen, sean éstas producidas por una persiana, una baranda o los marcos de los ventanales. El blanco de la vestidura de las novicias se ve corrompido cada tanto por estas líneas que recuerda que existe un afuera y un adentro, y por ende hay mujeres como Anne-Marie que eligen esta vida y otras que lo usan como parte del plan de escape, como Thérèse, una mujer acusada de homicidio injustamente.\n\nLa fascinación casi obsesiva de Anne-Marie con Thérèse será el catalizador para una serie de conflictos y enfrentamientos entre las Hermanas, porque a pesar de la naturaleza de los espacios por donde transitan, la cárcel y el convento, la individualidad de una no puede suprimirse del todo. En la cárcel los nombres se reemplazan por números, y en convento, bajo la tutela de las madres, las novicias abandonan viejos hábitos para vestir otro tipo de hábito, una indumentaria que uniforma y que reduce, a la vez que impide la intromisión de cualquier rasgo físico que pudiera abrir el camino de la vanidad, pero los actos impulsivos como robar un espejo no pueden controlarse. En la cárcel, no todas las condenadas reciben la palabra de Dios con entrega porque también existen las acusadas por error, y en el convento no todas las mujeres practican lo que predican porque emergen rivalidades entre bandos, como si se forjaran pandillas.\n\nEn el convento, culpables; en la cárcel, inocentes. En este sentido, <strong><em>Los ángeles del pecado </em></strong>contrapone a estas dos mujeres incompatibles, Anne-Marie, la que renuncia a los privilegios de su clase para rescatar a otras, y Thérèse, la que se resiste a la salvación religiosa, y que obra en pos de la venganza. Para ella, la liberación es un ajuste de cuentas, con intereses incluidos. La obsesión de la hermana por rescatarla encuentra su rival en la resistencia de esta mujer problemática quien hace lo posible para librarse del hostigamiento de ella. El tormento que invade la comunidad no adopta la forma de gritos desesperados como lo había hecho en la cárcel, sino son acciones silentes, como el acariciar o no al gato o el tropezón que por descuido echa leña al piso. Los rituales parsimoniosos de las mujeres se ven alterados por cuchicheos en los pasillos y pequeños actos vandálicos que irrumpen la paz más allá del momento de intercambio de chistes inocentes.\n\nLos lentos fundidos de transición entre una imagen y la otra fusionan los muros de la prisión con las paredes del convento como si fueran uno solo, barreras de protección frente a espacios hostiles de no aceptación. <strong><em>Los ángeles del pecado </em></strong>omite la existencia de una vida fuera del encierro porque la reclusión no es sinónimo de carencia, sino todo lo contrario. Por otro lado, los personajes secundarios a la historia, como el vendedor de armas o el amante de Thérèse son figuras desechadas que permanecen únicamente fuera de campo como una voz o una silueta desenfocada. Solo en contadas escenas se permite abandonar estos lugares, pero cuando lo hace las consecuencias son devastadoras. Cuando Thérèse es puesta en libertad, asesina al que la había incriminado; cuando Anne-Marie abandona el convento, se pierde en el bosque y cae enferma.\n\nLos policías encuentran a Thérèse casi al mismo tiempo en el que una desahuciada Anne-Marie es atendida por las Hermanas. Los rectores de ambas instituciones se encuentran al fin en un mismo plano en el momento preciso en que sus protagonistas deciden librarse de los grilletes que las aprisionan. Para Anne Marie, la emancipación será en su muerte, con la proclamación del juramento que entrega su vida a las reglas del convento. Lo que en vida tanto había anhelado lo consigue mientras cierra sus ojos y cae en la cama. Thérèse, por su parte, quien debió completar las palabras del voto, abandona su secreto y baja las escaleras que la conduce a enfrentar su condena. Un travelling acompaña su marcha peldaño a peldaño, y la cámara desciende desde su rostro a sus manos que se cruzan para recibir la absolución, porque para ella, la salvación yace en la pena.\n\nEn el plano final, <strong><em>Los ángeles del pecado</em></strong> acaricia la libertad alcanzada a pesar del encierro físico porque para Bresson, la vocación espiritual es, en última instancia, el único camino aparente para la redención.','Les anges du péché (1943)','','publish','open','open','','les-anges-du-peche-1943','','','2020-09-08 14:55:59','2020-09-08 18:55:59','',0,'http://lapistoladechejov.com/?p=1322',0,'post','',0),(1309,2,'2020-08-24 19:35:48','2020-08-24 23:35:48','<h2>Omisiones y ausencias.</h2>\nEl sol siempre brilla en Kentucky. O al menos lo hace para el juez Billy Priest, un héroe solitario que debe resolver un caso de violación y un posible linchamiento mientras busca la reelección de su cargo. <strong><em>The Sun Shines Bright</em></strong> es una película de ausencias y de recuerdos donde el presente se pone en pausa para observar el arribo de un barco al pueblo, un evento menor pero de motivo suficiente para retrasar cualquier proceso judicial. Esta sensación de estar viviendo un idilio perdido, un paréntesis en la historia estadounidense, se dilata a lo largo de la película y acapara los confines del escenario; desde la caracterización al relato, cada elemento de la puesta en escena está atravesada por una idea de omisión nostálgica.\n\nPriest es un hombre benigno, un tanto efusivo, un tanto cordial. Vive en compañía de Jeff, su fiel servidor, quien se encarga de prepararle el baño cada mañana y recordarle la hora de sus compromisos. En <strong><em>The Sun Shines Bright</em></strong> las cosas tienen otro nombre, o bien son innombrables. El whisky es un remedio para el corazón así como el refresco puede ser una bebida alcohólica, y un esclavo es ahora un sirviente. Y prostituta es un vocablo omitido del habla pues no existe léxico que reemplace la repulsión que genera dicha palabra, tanto así que nunca se articula más que la primera sílaba y por mera suposición se asume que lo de Mally Cramp es un prostíbulo. Del mismo modo, Priest remarca con insistencia que no se hablará de política a la par que no desaprovecha oportunidad alguna para repartir panfletos. Nada más político que el pueblo empapelado con las promesas de sus candidatos.\n\nEn el noble pueblo de Fairfield, por citar a uno de sus personajes, los borrachos no existen, ni tampoco los destiladores clandestinos. La comunidad afroamericana habita los linderos del pueblo en asentamientos más precarios y trabajan como mano de obra para los pueblerinos adinerados. Pero lo hacen en plena aceptación de su condición y hasta incluso se encargan de animar los eventos con canciones y danzas. Ellos están felices, cantan y sonríen. Ambientada a principios del siglo XX, a tan solo cincuenta años después de la guerra civil que enfrentó a los Estados Confederados contra la Unión, es decir, los esclavistas del sur versus los constitucionalistas del norte, <strong><em>The Sun Shines Bright </em></strong>supone una convivencia pacífica entre ambos bandos. La mirada es escapista, pretende pasar por alto la problemática de la segregación racial en pos de una convivencia pacífica.\n\nLos veteranos de la Confederación allegados a Priest sostienen reuniones periódicas en mira a las próximas elecciones y rinden pleitesía a los símbolos que alguna vez habían definido ese país imaginario no reconocido. La bandera blanca con la cruz en la esquina, o la canción Dixie (o Dixieland) popularizada durante la Guerra como himno nacional representa una suerte de resistencia al tiempo y a la derrota; lejos estaba John Ford de imaginar que la cruz sureña desataría polémica por ser considerada un símbolo xenofóbico. Aquí, el Sur y el Norte compiten las hazañas de sus mártires pero jamás discuten sobre la subordinación del hombre negro al hombre blanco, pilar fundacional de los Estados Confederados. Otra tema excluido adrede.\n\n<strong><em>The Sun Shines Bright </em></strong>alude constantemente a batallas pasadas y enfrenta a dos generaciones para buscar una conciliación con el pasado. La señorita Lee busca a su verdadero padre, así como su madre busca a ella para poder morir en paz; el Sr. Corwyn retorna a su pueblo natal bajo la mirada de quienes lo vieron de niño, y los ex combatientes por su parte, se resisten a ser tratados como reliquias anquilosadas y participan a duras penas de las reuniones sociales sin alcohol. Pero aquí, las tramas son casuales. Se hilvanan como puntos sueltos que tan pronto como se plantean, se revuelven sin mayores inconvenientes. La violación de una niña, referido como el “incidente”, porque violación es también una palabra prohibida, se descifra en contadas escenas: la falsa acusación, la guardia frente a la cárcel, y el encuentro con el verdadero culpable. En Fairfield, cuya traducción literal es campo bello, los linchadores obran con conciencia. No serían capaces de ejecutar a cualquiera.\n\nPasado y futuro, muerte y vida, confluyen en <strong><em>The Sun Shines Bright. </em></strong>Esta dialéctica llega a su punto álgido en la secuencia final de la película. La procesión fúnebre de la mujer extraña culmina con el sermón de Priest donde lee un versículo de la biblia que habla sobre el pecado. Cumplido el deber moral, Priest regresa para votar y tras su victoria, en parte gracias a los matones de la comunidad de Tornado que votaron a último momento por el hombre que les “salvó de ellos mismos”, una procesión festiva celebra su victoria.\n\nEn un lugar y tiempo donde los negros cantan Dixie, donde los demócratas son los conservadores y los republicanos los progresistas, <strong><em>The Sun Shines Bright </em></strong>omite pero no con malicia. Su mirada es, en cierto modo, conciliadora con lo que nombra y con lo que no. Al final del día, el juez marchó al lado del cuerpo de una mujer considerada despreciable y defendió a un joven inocente frente a los prejuicios de su propia gente. ¿Acaso tendríamos el valor de hacer lo mismo que él? A medida que el juez ingresa a su casa y se aleja en un plano general ante la mirada de Lee y Corwyn, Ford pone en marcha su propio corazón y se prepara para lo que el día siguiente le pudiera traer. El tiempo hará lo suyo con hombres como Priest. Solo resta esperar que la omisión no se transforme en olvido, y que el olvido no deteriore la memoria, tareas que decantan en uno mismo.','The Sun Shines Bright (1953)','','publish','open','open','','the-sun-shines-bright-1953','','','2020-08-24 19:35:54','2020-08-24 23:35:54','',0,'http://lapistoladechejov.com/?p=1309',0,'post','',0),(1310,2,'2020-08-24 19:33:21','2020-08-24 23:33:21','','the sun','the sun shines bright','inherit','open','closed','','the-sun','','','2020-08-24 19:33:37','2020-08-24 23:33:37','',1309,'http://lapistoladechejov.com/wp-content/uploads/2020/08/the-sun.jpg',0,'attachment','image/jpeg',0),(1306,2,'2020-08-09 18:46:39','2020-08-09 22:46:39','<b>Nicole Costa. Chile. </b>\n\n<span style=\"font-weight: 400;\">El término decadencia se refiere a algo que cae, que va de menos y que según definición académica implica la pérdida de una fracción indefinida de aquellas condiciones que le otorgaban su valor como tal. Entonces, ¿por qué hablar de decadencia cuando es algo que a ciertas mujeres les toca vivir? ¿Por qué usar decadencia como un término peyorativo que separa a uno del otro? ¿Por qué uno se siente en derecho de considerar algo como degradante y bajo qué parámetros?, son preguntas que con enojo vocifera el personaje de </span><b><i>El viaje de Monalisa</i></b><span style=\"font-weight: 400;\"> en un encuentro festivo. Y del otro lado, no puedo evitar estar de acuerdo con ella, o al menos cuestionar mis propias ideas en torno a esta palabra divulgada como sinónimo de degradación. </span>\n\n<b><i>El viaje de Monalisa</i></b><span style=\"font-weight: 400;\"> narra el encuentro entre Iván Monalisa y Nicole Costa, la directora de la película. Diecisiete años después de la partida de Iván a Nueva York, Costa contacta con él y lo acompaña en los trámites para la obtención de la residencia. Iván había llegado a la ciudad para estudiar dramaturgia, pero fue seducido por el ajetreo de la noche. Hasta hoy, nunca regresó a Chile. Fue aquí, entre pelucas y máscaras, taxis amarillos y clientes adinerados, donde él descubrió a Monalisa, ya que libre de prejuicios pudo navegar a través del mundo drag, el travestismo, las artes performativas, la prostitución y las drogas. De degradante, nada, sino todo lo contrario, el esplendor de una persona en plena aceptación de su identidad; tanto lo oscuro como lo resplandeciente residen en su cuerpo, y él-ella lo sabe.</span>\n\n<b><i>El viaje de Monalisa</i></b><span style=\"font-weight: 400;\"> mezcla fragmentos de textos escritos por Iván y cintas en VHS de las salidas de Monalisa con sus amigas con una serie de mensajes en off que Iván y la directora intercambian a lo largo de la película. A Costa casi no se la ve, pero su fascinación por Iván es palpable desde el primer mensaje que ella le deja en la contestadora automática.</span>\n\n<span style=\"font-weight: 400;\">Tal como Iván confiesa su adicción con hastío y un toque de humor, pero tampoco niega la adrenalina que le produce un encuentro con un cliente, Costa admite sin tapujos escenas que ilustran cada arista del carácter de Iván, desde una conversación íntima con su padre al consumo de metanfetamina. “Que feo esto que estamos grabando”, le dice Iván a Costa en un momento de la película, pero la cámara sigue filmando, por más que ciertos personajes recalquen lo obvio (“ella sigue filmando”) o se sientan descolocados al no visualizar la belleza exigida en las imágenes capturadas. Aquí, sujeto y artista, y un sujeto que es artista, trazan en conjunto un trayecto libre de tapujos que despierta curiosidad, como la trenza infinita que arrastra Iván por los paisajes cotidianos de la vida neoyorkina. </span>\n\n<span style=\"font-weight: 400;\">Si en Monalisa residen dos espíritus, uno masculino y uno femenino, uno que pide prestado dinero cuando queda la calle y una que escribe “entre sniff y sniff”, en </span><b><i>El viaje de Monalisa </i></b><span style=\"font-weight: 400;\">esta dualidad trasciende la imagen; a veces son palabras puntuales que evocan el miedo a la soledad o el peligro constante de muerte, y otras es un túnel pintarrajeado que actúa de pasarela glamorosa. Quizás los lugares negros de la vida no sean al final tan negros.</span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional de largometrajes del </span></i><a href=\"http://femcine.cl/\"><i><span style=\"font-weight: 400;\">FEMCINE</span></i></a><i><span style=\"font-weight: 400;\"> 2020 - Festival de cine de mujeres</span></i>','El viaje de Monalisa (2019)','','publish','open','open','','el-viaje-de-monalisa-2019','','','2020-08-09 18:46:44','2020-08-09 22:46:44','',0,'http://lapistoladechejov.com/?p=1306',0,'post','',0),(1307,2,'2020-08-09 18:45:39','2020-08-09 22:45:39','el viaje de monalisa','el viaje de monalisa','','inherit','open','closed','','el-viaje-de-monalisa','','','2020-08-09 18:45:50','2020-08-09 22:45:50','',1306,'http://lapistoladechejov.com/wp-content/uploads/2020/08/el-viaje-de-monalisa.jpg',0,'attachment','image/jpeg',0),(1308,2,'2020-08-09 18:46:00','2020-08-09 22:46:00','<b>Nicole Costa. Chile. </b>\n\n<span style=\"font-weight: 400;\">El término decadencia se refiere a algo que cae, que va de menos y que según definición académica implica la pérdida de una fracción indefinida de aquellas condiciones que le otorgaban su valor como tal. Entonces, ¿por qué hablar de decadencia cuando es algo que a ciertas mujeres les toca vivir? ¿Por qué usar decadencia como un término peyorativo que separa a uno del otro? ¿Por qué uno se siente en derecho de considerar algo como degradante y bajo qué parámetros?, son preguntas que con enojo vocifera el personaje de </span><b><i>El viaje de Monalisa</i></b><span style=\"font-weight: 400;\"> en un encuentro festivo. Y del otro lado, no puedo evitar estar de acuerdo con ella, o al menos cuestionar mis propias ideas en torno a esta palabra divulgada como sinónimo de degradación. </span>\n\n<b><i>El viaje de Monalisa</i></b><span style=\"font-weight: 400;\"> narra el encuentro entre Iván Monalisa y Nicole Costa, la directora de la película. Diecisiete años después de la partida de Iván a Nueva York, Costa contacta con él y lo acompaña en los trámites para la obtención de la residencia. Iván había llegado a la ciudad para estudiar dramaturgia, pero fue seducido por el ajetreo de la noche. Hasta hoy, nunca regresó a Chile. Fue aquí, entre pelucas y máscaras, taxis amarillos y clientes adinerados, donde él descubrió a Monalisa, ya que libre de prejuicios pudo navegar a través del mundo drag, el travestismo, las artes performativas, la prostitución y las drogas. De degradante, nada, sino todo lo contrario, el esplendor de una persona en plena aceptación de su identidad; tanto lo oscuro como lo resplandeciente residen en su cuerpo, y él-ella lo sabe.</span>\n\n<b><i>El viaje de Monalisa</i></b><span style=\"font-weight: 400;\"> mezcla fragmentos de textos escritos por Iván y cintas en VHS de las salidas de Monalisa con sus amigas con una serie de mensajes en off que Iván y la directora intercambian a lo largo de la película. A Costa casi no se la ve, pero su fascinación por Iván es palpable desde el primer mensaje que ella le deja en la contestadora automática.</span>\n\n<span style=\"font-weight: 400;\">Tal como Iván confiesa su adicción con hastío y un toque de humor, pero tampoco niega la adrenalina que le produce un encuentro con un cliente, Costa admite sin tapujos escenas que ilustran cada arista del carácter de Iván, desde una conversación íntima con su padre al consumo de metanfetamina. “Que feo esto que estamos grabando”, le dice Iván a Costa en un momento de la película, pero la cámara sigue filmando, por más que ciertos personajes recalquen lo obvio (“ella sigue filmando”) o se sientan descolocados al no visualizar la belleza exigida en las imágenes capturadas. Aquí, sujeto y artista, y un sujeto que es artista, trazan en conjunto un trayecto libre de tapujos que despierta curiosidad, como la trenza infinita que arrastra Iván por los paisajes cotidianos de la vida neoyorkina. </span>\n\n<span style=\"font-weight: 400;\">Si en Monalisa residen dos espíritus, uno masculino y uno femenino, uno que pide prestado dinero cuando queda la calle y una que escribe “entre sniff y sniff”, en </span><b><i>El viaje de Monalisa </i></b><span style=\"font-weight: 400;\">esta dualidad trasciende la imagen; a veces son palabras puntuales que evocan el miedo a la soledad o el peligro constante de muerte, y otras es un túnel pintarrajeado que actúa de pasarela glamorosa. Quizás los lugares negros de la vida no sean al final tan negros.</span>\n\n<i><span style=\"font-weight: 400;\">Parte de la selección de Competencia Internacional de largometrajes del </span></i><a href=\"http://femcine.cl/\"><i><span style=\"font-weight: 400;\">FEMCINE</span></i></a><i><span style=\"font-weight: 400;\"> 2020 - Festival de cine de mujeres</span></i>','El viaje de Monalisa (2019)','','inherit','closed','closed','','1306-revision-v1','','','2020-08-09 18:46:00','2020-08-09 22:46:00','',1306,'http://lapistoladechejov.com/2020/08/09/1306-revision-v1/',0,'revision','',0),(765,2,'2019-12-20 18:04:41','2019-12-20 18:04:41','<h2 style=\"font-weight: bold;\">Colérica. Frenética. Exasperante.</h2>\nAbominable. Fétido. Horripilante. Repugnante… malvado. Son tan solo algunas de las palabras que Yoav, un ex soldado israelí, utiliza para describir su país de origen. Recién llegado a París, él espera convertirse en francés lo antes posible, y a cualquier precio, sea que tenga que pasar la noche en un departamento vacío al borde de la muerte, o posar desnudo para satisfacer los fetiches de un realizador de películas pornográficas. Pero la ira de este joven expatriado es tal que alimenta como un combustible inagotable su único propósito: adoptar la nacionalidad francesa.\n\nPara hacerlo, Yoav se despoja de su lengua, de su religión y de sus costumbres, como si fueran meros objetos que ya no caben más en la mochila. Hablar francés y estar en Francia es un consuelo físico del absceso que lo carcomía, y cuando un infortunio lo deja desnudo y sin ninguna pertenencia, él renace amputado de su pasado. En este trajín de supervivencia y escasez, de comidas enlatadas y fricciones con la embajada israelí, sumado a las dudosas intenciones de una pareja que le ofrece cobijo, quizás lo único que Yoav tenga sean sus historias que afirman y reafirman la incertidumbre de sus planes futuros más allá de obtener un nuevo pasaporte.\n\nLa cámara brusca, tosca, dirigida hacia el suelo, replica su andar obstinado por las calles parisinas que ignoran su presencia mientras que Yoav, siempre con la vista al piso, recita como mantra los sinónimos del día: devorar, deglutir, engullir. O, si el hambre es crónico, croissant. Croissant de manteca, de chocolate, de almendra. Así como se rehúsa a hablar en hebreo, él se niega a levantar la mirada y acatar los paisajes que son, y quizás serán, su nuevo hogar. El rechazo a ser seducido, o ser engañado, irónicamente persiste en la búsqueda de apoderarse de aquello que hace francés a un francés. ¿Será una fecha importante? ¿El himno nacional? ¿Los nombres de los presidentes? Afuera, él no se detiene un segundo. No deambula, huye. Y la imagen, colérica y nauseabunda, alude la tensión propia de un campo de guerra.\n\nTal vez sea ingenuo pretender desprenderse de un pasado que atenta siempre con volver a germinar; sus mismas palabras evocan recuerdos que paralizan este limbo de escape temporal que ofrece por de pronto su ubicación geográfica. En esta lucha frenética entre el dolor y el odio, la nacionalidad es un demonio, un fantasma, y su única protección es un diccionario que actúa como blindaje y ariete a la vez, porque el repudio hacia la pertenencia a un país no significa la receptividad del otro, ni implica una adaptación sencilla.\n\nEn Sinónimos (2019), película basada en las propias experiencias vividas por el director Nadav Lapid, la resistencia y la agresión de las palabras se traduce en conflictos personales y políticos que atacan el concepto de estado, pues el relato intenso e impredecible solo evidencia un síntoma de este mundo infectado por un incipiente nacionalismo violento que olvida que al final somos todos seres humanos.','Sinónimos (2019)','','publish','open','open','','sinonimos-2019','','','2019-12-27 09:51:19','2019-12-27 12:51:19','',0,'',0,'post','',0),(909,2,'2019-12-26 09:39:21','2019-12-26 12:39:21','<h2 style=\"font-weight: bold;\">Colérica. Frenética. Exasperante.</h2>\nAbominable. Fétido. Horripilante. Repugnante… malvado. Son tan solo algunas de las palabras que Yoav, un ex soldado israelí, utiliza para describir su país de origen. Recién llegado a París, él espera convertirse en francés lo antes posible, y a cualquier precio, sea que tenga que pasar la noche en un departamento vacío al borde de la muerte, o posar desnudo para satisfacer los fetiches de un realizador de películas pornográficas. Pero la ira de este joven expatriado es tal que alimenta como un combustible inagotable su único propósito: adoptar la nacionalidad francesa.\n\nPara hacerlo, Yoav se despoja de su lengua, de su religión y de sus costumbres, como si fueran meros objetos que ya no caben más en la mochila. Hablar francés y estar en Francia es un consuelo físico del absceso que lo carcomía, y cuando un infortunio lo deja desnudo y sin ninguna pertenencia, él renace amputado de su pasado. En este trajín de supervivencia y escasez, de comidas enlatadas y fricciones con la embajada israelí, sumado a las dudosas intenciones de una pareja que le ofrece cobijo, quizás lo único que Yoav tenga sean sus historias que afirman y reafirman la incertidumbre de sus planes futuros más allá de obtener un nuevo pasaporte.\n\nLa cámara brusca, tosca, dirigida hacia el suelo, replica su andar obstinado por las calles parisinas que ignoran su presencia mientras que Yoav, siempre con la vista al piso, recita como mantra los sinónimos del día: devorar, deglutir, engullir. O, si el hambre es crónico, croissant. Croissant de manteca, de chocolate, de almendra. Así como se rehúsa a hablar en hebreo, él se niega a levantar la mirada y acatar los paisajes que son, y quizás serán, su nuevo hogar. El rechazo a ser seducido, o ser engañado, irónicamente persiste en la búsqueda de apoderarse de aquello que hace francés a un francés. ¿Será una fecha importante? ¿El himno nacional? ¿Los nombres de los presidentes? Afuera, él no se detiene un segundo. No deambula, huye. Y la imagen, colérica y nauseabunda, alude la tensión propia de un campo de guerra.\n\nTal vez sea ingenuo pretender desprenderse de un pasado que atenta siempre con volver a germinar; sus mismas palabras evocan recuerdos que paralizan este limbo de escape temporal que ofrece por de pronto su ubicación geográfica. En esta lucha frenética entre el dolor y el odio, la nacionalidad es un demonio, un fantasma, y su única protección es un diccionario que actúa como blindaje y ariete a la vez, porque el repudio hacia la pertenencia a un país no significa la receptividad del otro, ni implica una adaptación sencilla.\n\nEn Sinónimos (2019), película basada en las propias experiencias vividas por el director Nadav Lapid, la resistencia y la agresión de las palabras se traduce en conflictos personales y políticos que atacan el concepto de estado, pues el relato intenso e impredecible solo evidencia un síntoma de este mundo infectado por un incipiente nacionalismo violento que olvida que al final somos todos seres humanos.','Sinónimos (2019)','','inherit','closed','closed','','765-revision-v1','','','2019-12-26 09:39:21','2019-12-26 12:39:21','',765,'http://lapistoladechejov.com/2019/12/26/765-revision-v1/',0,'revision','',0),(766,2,'2019-12-04 18:06:40','2019-12-04 18:06:40','<h2 style=\"font-weight: bold;\">La desgracia hecha espectáculo.</h2>\nLuis Ospina agarra al pueblo y lo sacude, en un manifiesto que exige un abrir de ojos frente a lo que él denomina como el cine de la miseria o porno miseria donde la indigencia es un lucro y la desgracia se vuelve espectáculo. Con un tono sarcástico y crudo, Ospina satiriza cómo los documentalistas latinoamericanos, y en este caso particular los colombianos, pretenden abordar la pobreza que aqueja a países tercermundistas.\n\nCarlos Mayolo y Eduardo Carvajal fugen de director y camarógrafo en Agarrando pueblo (1977), una película que aparenta ser un documental que registra el andar cotidiano de los realizadores, quienes recorren barrios marginales en busca de las tomas ideales que derrochen lástima para aquella sociedad del consumo ávida por purgar la culpa con el dinero de la entrada al cine. En este juego perverso de exageración y mentira, la manipulación de la realidad a favor de la función está permitida, así como la intromisión y la apropiación desalmada de sujetos en forma de imágenes como meras posesiones. Existe además, una lista de personajes que obtener a toda costa (un borracho, una prostituta) como una lista de verificación de los ingredientes antropológicos que conforman el paisaje del subdesarrollo. Y, por si fuera poco, es legítimo también cualquier modo en que se obtienen ciertas imágenes como tirar monedas al agua para lograr que los niños se metan a buscarlas, porque así se bañan los niños en Colombia, o contratar a actores para que interpreten a una familia indigente utilizando como escenario una choza abandonada, porque así es la pobreza en los barrios más necesitados de Cali.\n\nEl relato se construye mediante dos lenguajes narrativos distintos. Por un lado, una cámara en blanco y negro sigue los andares de la dupla protagónica que como cazadores despiadados roban imágenes de la miseria para venderlas como mercancía a un supuesto canal europeo. Por el otro, dichas imágenes capturadas a color, el trofeo aprisionado que al otro lado del charco será exhibido como rareza. Pero Agarrando pueblo no es ni documental ni ficción, y catalogarlo como falso documental podría limitarse en un análisis meramente formal, cuando la trascendencia social y política radica en cuestionar los discursos de un género cinematográfico que han sido colonizados y absorbidos por el cine mismo con una peligrosa receptividad.\n\nEstá claro que el andar de los cineastas genera rechazo y que sus actitudes repugnan hasta el transeúnte anónimo que por desgracia atestigua el rodaje de alguna escena. Esta sensación revoltosa casi embarazosa solo se agudiza a pesar de que observamos los sucesos bajo la evidente ironía de sus directores Ospina y Mayolo que nos asegura una cierta improbabilidad frente a la atrocidad palpable, hasta que la irrupción de un personaje, hoy ya mítico, desvela la maquinaria detrás de la película.\n\nAgarrando pueblo es una crítica del cine sobre el cine mismo, es un grito a viva voz que exige un despertar de conciencia y de postura frente a las imágenes que consumimos y a las imágenes que creamos. Para Mayolo y Ospina, quien falleció el pasado 27 de septiembre, aquella mirada frívola hacia las condiciones de marginalidad y subdesarrollo sólo bajo el burdo pretexto de obtener ganancia es y será siempre, despreciable.\n<div>Ver ahora:</div>\n<iframe src=\"https://www.youtube.com/embed/kagX-E9S8B8?feature=oembed\" width=\"459\" height=\"344\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Agarrando pueblo (1977)','','publish','open','open','','agarrando-pueblo-1977','','','2019-12-27 09:51:46','2019-12-27 12:51:46','',0,'',0,'post','',0),(767,2,'2019-10-16 15:16:38','2019-10-16 15:16:38','<h2 style=\"font-weight: bold;\">Inexplicable e insufrible.</h2>\nDurante una subasta, el manuscrito original de “Yo el supremo” de Augusto Roa Bastos desaparece justo cuando estaba siendo ofrecido. Desconcertados por lo sucedido, la ganadora Ana Morel, hija del embajador paraguayo en Francia, y el coleccionista (y político) Anton Remianiuk, aguardan algún tipo de información acerca del robo. Aguirre, la asistente fiscal asignada al caso, arriba al lugar de los hechos con numerosas interrogantes, incógnitas que a partir de los primeros minutos de la película nunca se resuelven y se enmarañan en una trama tan confusa que intentar encontrarle algún sentido es tarea inútil.\n\nDirigida por Jorge Díaz de Bedoya y Michael Kovich Jr., El supremo manuscrito (2019) suscita un sin fin de preguntas. ¿Cuál es la injerencia de la figura de Roa Bastos en la búsqueda del manuscrito, o mejor dicho, en qué aporta que sea este manuscrito y no otro objeto? ¿Cómo se conecta la dictadura de Alfredo Stroessner con la trama centrada en la desaparición del original? ¿Cuál es la relación entre los supuestos contrabandistas con una operación militar antidrogas sucedida en un pasado indeterminado, y otra vez, qué tiene que ver esto con el manuscrito? Y, para purgar la trama y reducirla a lo esencial, ¿qué quiere cada personaje?\n\nEl MacGuffin, entendido como un objeto de engaño que hace avanzar la trama pero que al final no tiene relevancia en la historia, es utilizado en el cine de suspenso con frecuencia como excusa perfecta para suscitar acción y reacción en los personajes, donde lo que nos interesa son las dinámicas que se van generando en torno a este objeto misterioso sobre el cual los personajes en pantalla depositan toda su atención. En El supremo manuscrito, el manuscrito es un MacGuffin defectuoso que fracasa en conducir el interés hacia las relaciones de los personajes, porque ni los protagonistas ni los antagonistas son claros en sus motivaciones. Es más, en un intento por sostener este lío, el guión se refugia en diálogos expositivos que fallan en cometer su único objetivo: lograr que el espectador reciba información para comprender la trama.\n\nCuando la historia es indescifrable e irracional, cuando no existe identificación con los personajes que se mueven sin que sepamos hacia dónde, cuando a una premisa sencilla como encontrar algo se le añaden tantas variables inconexas y hasta un nuevo manuscrito, la única solución posible podría ser ofrecer secuencias cargas de acción y espectacularidad para ocultar las notorias falencias de dirección que repercuten en todos los ámbitos. Pero El Supremo manuscrito convierte los diálogos más simples en escenas complejas con un montaje alterno injustificado que resta tensión y genera incomodidad, molestosa como la cámara en mano cuyo uso y abuso, marea y fastidia. Y, paradójicamente, aquellas persecuciones que deberían estar cargas de adrenalina esfuman autos por arte de magia. Mención aparte a los fragmentos sueltos de un soldado, un machete o un portarretrato que como clips ensucian aún más la narración.\n\nTan innecesaria como el lengüetazo en el rostro que recibe Ana (mero morbo de sus autores), El supremo manuscrito (2019) es un lío inextricable donde las conjeturas posibles acerca del paradero del objeto preciado solo pueden contemplarse bajo las indescifrables acciones que van sucediendo una después de la otra, contemplarse porque esta película exige una pasividad única en la comprensión: aceptar lo inexplicable para tolerar lo insufrible.\n\n<iframe src=\"https://www.youtube.com/embed/5exJ2meAU30?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','El supremo manuscrito (2019)','','publish','open','open','','el-supremo-manuscrito-2019','','','2019-12-27 09:52:15','2019-12-27 12:52:15','',0,'',0,'post','',0),(768,2,'2019-10-15 18:38:53','2019-10-15 18:38:53','<h2 style=\"font-weight: bold;\">El dolor del canto.</h2>\nEl dolor de haber sido un país escenario de las guerras del narcotráfico adopta la forma de un lamento en Pájaros de Verano (2019) dirigida por Cristina Gallego y Ciro Guerra. Narrada en 5 cantos que anticipa la transformación de una comunidad y el porvenir de una inminente tragedia, el relato se sitúa a finales de los años ‘60 y abarca un lapso de un poco más de diez años, en un periodo crucial para la historia de Colombia: el comienzo de aquello conocido como “la bonanza marimbera”.\n\nEn el desierto del norte del territorio colombiano, lejos de los blancos y de los alijunas o no indígenas, habitan varias familias pertenecientes a la comunidad de los wayúu. Aún conservan las tradiciones y los valores de sus ancestros, y celebran los ritos de iniciación correspondientes a las distintas etapas de vida de sus miembros. En este contexto, Zaida cumple el mandatorio año de encierro luego de haber tenido su primera menstruación y cuando emerge al exterior ya como mujer, Rapayet clava los ojos en ella. Pero la dote que su madre Úrsula exige no es fácil de conseguir. A pesar de la obvia desaprobación de la matriarca de la familia, Rapayet se involucra en pequeños negocios ilegales hasta que cierra un trato de venta de marihuana con unos norteamericanos instalados en la región para combatir el comunismo. Y así, tanto su familia como otras familias wayúu se enredan en un conflicto sin fin y sin salida.\n\nPájaros de Verano retrata el choque entre mundos opuestos, entre aquellos que hablan dialectos distintos y aquellos que piensan que el resto del mundo habla la misma lengua. Pero más allá del enfrentamiento cultural, es un relato de pérdida de identidad porque las costumbres no son nada frente a las armas, ni pueden impedir la creciente violencia. Cuando la marihuana o la felicidad de un mundo foráneo se vuelve el negocio lucrativo de otros, el dinero solo equivale a poder. En esta nueva dinámica de avionetas y pistas clandestinas, las tumbas son para los rifles, las balas reemplazan las palabras y el honor tiene su precio en kilos.\n\nMediante elipsis temporales, o cortes bruscos de un determinado momento a años después, a los títulos que anuncian el porvenir de cada capítulo, los directores componen con angustia y desconsuelo una sinfonía donde cada canto suena distinto al otro, y cada uno pinta la fotografía de un color distinto, ya sea rojo, negro, o marrón. Las tradiciones de la tribu se entreteje con los negocios, en una puja entre los rituales y la sangre donde la narración prefiere omitir la balacera de los enfrentamientos armados, la deja fuera de campo, o abre el encuadre a un plano general abierto como si buscara marcar una distancia prudente para no convertir la violencia en espectáculo.\n\nPájaros de Verano es un presagio de la atrocidad resultante del narcotráfico que se instalaría en la región, es un grito desesperado que clama el recuerdo de aquellos valores consumidos bajo el fuego de los disparos entre los bandos criminales. Si el viento borra las huellas de la arena y también se lleva los sueños, quizás la tristeza solo pueda recordarse así, a través del canto de un pájaro.\n\n<iframe src=\"https://www.youtube.com/embed/htDO3BpyM-I?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Pájaros de Verano (2019)','','publish','open','open','','pajaros-de-verano-2019','','','2019-12-27 09:52:44','2019-12-27 12:52:44','',0,'',0,'post','',0),(769,2,'2019-09-24 17:27:08','2019-09-24 17:27:08','<h2 style=\"font-weight: bold;\">¿Quién es el parásito?</h2>\nEn un sótano a ras del suelo vive una familia. Entre la orina de la calle y los bichos de la basura, ellos habitan un espacio claustrofóbico y alborotado con cajas de cartón que deben armar para subsistir, un curro temporal, mientras buscan un rincón de la casa donde se capta mejor la señal de wifi de la vecina. Cuando las calles del barrio se fumigan, dejan abierta la ventana para aprovechar el servicio “gratis”, a costa del humo tóxico que invade su precario hogar.\n\nPero no todo es miseria en Parasite (2019), la última película del director coreano Bong Joon-ho. Bajo la esperanza de una vida distinta y con mejores oportunidades, subyacen fuertes lazos de apoyo entre los integrantes de la familia. Así, cuando el hijo obtiene un trabajo como instructor de inglés de la hija de una familia adinerada, de poco cada uno va ocupando el cargo de algún empleado de la casa. O más bien, reemplazando.\n\nDecir casa para definir este nuevo escenario queda corto, pues la mansión de la familia adinerada es lo opuesto al de la otra. Amplios espacios minimalistas donde la luz del sol irradia al interior, con escaleras que conducen a niveles aún más altos de la casa ilustra un espacio de abundancia material inalcanzable para nuestro protagonista, pero no menos aspiracional, puesto que la noción de la diferencia de clases es física: existe un nivel superior y uno inferior. Los ricos viven en una colina, los otros, bajo el piso. Los otros se agachan, se arrastran y bajan la cabeza en reverencia; son los empleados que satisfacen las necesidades y caprichos de su empleador, quien puede darse el lujo de dar órdenes. Y es por esto que, irónicamente, nunca ven lo que sucede bajo sus propias narices.\n\nPareciera que ambos mundos por más que se encuentren enfrentados no congenian en un mismo ámbito, y la cámara se encarga de remarcar estas diferencias. Desde la primera toma de las medias colgadas con una particular vista de la vereda de la calle, y un leve paneo al piso para revelar los habitantes de este lugar, se enfatiza un radical contraste entre el arriba espacioso y el abajo frágil y sobrecargado. Quizás sea inofensivo entonces que gracias al ingenio y planificación minuciosa, la familia desempleada logre insertarse en la mansión. Pero el plan maestro no es del todo infalible, y lo que se va sucediendo después es tan imprevisible como funesto.\n\nParasite es una película de clases, que si bien ocurre en un universo diferente, es de fácil relación aquí y en casi todo el mundo, porque todos hemos sido infectados por el sistema capitalista que ha ensanchado groseramente la desigualdad entre uno y otro, peldaños de una escalera infinita que conduce desde los más recónditos inframundos donde no llega el sol a cajas herméticas y asépticas de vidrio y parquet. Lo curioso es la relación de dependencia entre ambas partes y la necesidad de subsistencia simbiótica entre estos unos y otros. ¿Quién vive de quién? ¿Aquel que obedece o aquel que se aprovecha?\n\nPero no son iguales, nunca lo serán. La lluvia puede ser lluvia, aquí y en cualquier parte. Son las condiciones socioeconómicas las que hacen que cada quien la reciba de manera distinta. Para algunos, la tormenta significa al día siguiente un cielo azul limpio de impurezas; para otros, es una desdicha no insuperable, pero si, un limbo transitorio de pérdida. Bong Joon-ho no elige bandos, y en esta postura neutral, se disimula lo abrumador de Parasite, porque por momentos se empatiza con una familia y luego con la otra hasta el punto en que es imposible vaticinar una resolución que no perjudique a otro. Una vez más, es claro que las diferencias no pueden coexistir.\n\nEn Parasite, la brecha existe. Es física, es cinematográfica, es corporal. Es un olor particular que penetra un ambiente y no es bien recibido, porque por primera vez el de arriba baja la mirada ante este intruso. La invisible línea que los divide se ve incapaz de contener el aroma, pero la brecha sigue siendo inmutable, innegable. Lo que comienza siendo una comedia con humor oscuro, culmina en una catastrófica serie de eventos que lejos de adoptar postura escribe una carta de amor que nunca llegará a destino porque el destinatario no existe, es una mera ilusión. El sueño de un mundo mejor libre de parásitos. Pero ¿quién es el parásito?\n\n<iframe src=\"https://www.youtube.com/embed/Uj6KIETXCU4?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Parasite (2019)','','publish','open','open','','parasite-2019','','','2019-12-27 09:53:52','2019-12-27 12:53:52','',0,'',0,'post','',0),(770,2,'2019-09-19 20:37:47','2019-09-19 20:37:47','<h2 style=\"font-weight: bold;\">La absurda culpa.</h2>\nEva vive con su esposo Adrián en una villa colonial española. Ante el mandato social de lo que se espera de la esposa de un diplomático, ella se muestra adaptada a su nueva vida matrimonial: prepara la cena, recibe a los suegros, ordena la casa y pasa el tiempo buscando cualquier tipo entretenimiento ya sea en la televisión o en una botella de vino. Pero las apariencias no pueden ocultar que Eva está aburrida, insatisfecha y tal vez un poco desatendida por un marido que solamente piensa en su ascenso laboral.\n\nEn un intento por escapar del tedio de la rutina, Eva compra un cuadro de una composición y estética bastante particulares, algo fálicas, cuya adición a la casa interfiere con la excesiva imaginería religiosa. Con el cuadro, llega Luis, el artista. Es de esperar que Eva sienta curiosidad hacia él, como también lo es que Adrián los descubra. Dicho y hecho los tres personajes no tardan en confrontarse unos a otros de las maneras más inesperadas.\n\nNarrado en un solo día y en un solo sitio, los personajes juegan en un supuesto triángulo amoroso que raya lo absurdo y descarta los típicos descargues de ira que suscitaría una inminente traición. Supuesto porque Pecado original (2019) no se trata de una pelea por saber quién quedará con quién. Adrián enfrenta un carácter tieso y hermético que le impide conectarse con Eva. Desafía a Luis a un partido de bádminton, pero también lo invita a comer, porque no puede despojarse de sus perfectos modales adquiridos. Luis, motivado por concretar la venta del cuadro, se presta al baile y se enreda en una terapia de pareja disparatada que saca a luz los tabúes del matrimonio, mientras Eva procura desesperadamente encontrar un sentido a la crisis que está atravesando.\n\nPero aquí el foco es Eva. Cansada de vivir para satisfacer unas expectativas instauradas en torno al rol de la esposa y de resultar siempre insuficiente para Adrián y su suegra, busca tomar el control de la situación. Eva no se considera un premio a ser disputado ni tampoco un accesorio incluido en el paquete del “matrimonio perfecto”. Ella quiere poder, algo inusual, no porque sea ella quien lo desea, sino porque siglos de dominación masculina instalaron la idea de que el poder está reservado solo para ellos.\n\nTambién quiere explorar su sexualidad con libertad, experimentar sus deseos y fantasías sin ser juzgada por ello, y mucho menos por su esposo. De nuevo inusual porque el conservadurismo religioso nos ha adoctrinado para sentir pudor de nuestro cuerpo y nuestro sexo.\n\nMás allá de la particular propuesta fotográfica que quiebra con los estándares convencionales de las comedias románticas, quizás en detrimento del género, Pecado Original juega con lo absurdo a través de las situaciones disparatadas que se suceden a la vez que cuestiona las apariencias sociales y la culpa cristiana, en un intento de alterar el orden social establecido. Eva y Adrián no son Eva y Adán.\n\n<iframe src=\"https://www.youtube.com/embed/aUXOpnFPRok?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Pecado Original (2019)','','publish','open','open','','pecado-original-2019','','','2019-12-26 09:53:54','2019-12-26 12:53:54','',0,'',0,'post','',0),(771,2,'2019-09-07 19:34:39','2019-09-07 19:34:39','<h2 style=\"font-weight: bold;\">Ironía y extravagancia entre los muertos vivientes.</h2>\nLos géneros cinematográficos son categorías que permiten la fácil asociación del espectador con la película según temática y narrativa, una codificación familiar ya conocida que ha sido construida a través del tiempo por la industria del cine. Estas categorías sirven para etiquetar los contenidos de una película, y, en cierta manera, predisponer al espectador a una serie de expectativas en torno al relato, ya sea por el tipo de personaje, los escenarios, el tono, o la trama. Es un contrato con el público que funciona como guía y permite el fácil reconocimiento de los códigos narrativos y temáticos presentes en la película.\n\nEl cine de zombies es considerado como un subgénero de las películas de terror, cuya característica principal es la presencia de los muertos vivientes que acechan y apeligran la vida de los protagonistas. Pero los géneros pueden combinarse o sufrir mutaciones, como ocurre con la última película de Jim Jarmusch titulada Los muertos no mueren del año 2019 en la que el director añade su excentricidad característica a un relato ya conocido.\n\nCuando el eje de la tierra rota, una serie de alteraciones biológicas naturales y fenómenos extraños como rayos lunares tóxicos despiertan a los muertos del cementerio del pueblo de Centerville, Pennsylvania, un lugar tranquilo con una población de apenas setecientas personas que a lo largo de la película se irá reduciendo considerablemente. Los protagonistas de la historia son dos policías, el jefe Cliff Robertson y el oficial Ronnie Petersen quienes patrullan las calles del pueblo y sus lugares icónicos que serán los escenarios de la historia: el motel, el parador, la estación de servicio, la casa funeraria y el centro de detención juvenil.\n\nMientras que Cliff alberga la esperanza que la situación se revierta, Ronnie no para de repetir que todo esto terminará mal. Los demás habitantes son una mezcla particular entre características opuestas; a personajes cotidianos como el granjero, la mesera, el ermitaño, Jarmusch les añade un aderezo de extravagancia único propio de su cine sorprendente. Tenemos así por ejemplo a Zelda, la recién llegada y encargada de la casa funeraria local que prepara los cuerpos como para una fiesta en La Fábrica de Andy Warhol y rebana cabezas con su espada de samurái, o Bobby Wiggins, el chico de la estación de servicio que vende objetos de colección de culto y sabe muy bien cómo matar a los muertos vivientes, fruto de su impresionante cultura cinematográfica.\n\nPero Los muertos no mueren es más comedia que una película de terror. Si bien cada uno de los personajes reacciona de manera diferente frente al fin del mundo, algunos se encierran y otros gritan, ninguno parece tan alterado por el horror de los cuerpos descompuestos. Los rostros impasibles de los policías o de los turistas hipsters se emocionan más cuando escuchan la música Los muertos no mueren de Sturgill Simpson, que frente a la inevitable muerte, pues como bien lo dice Ronnie es el tema principal de la película. El ritmo de la historia parece ceñirse al compás repetitivo y sereno de la melodía, pues la trama no se interesa por hacer avanzar los eventos clave y en la reiteración subyace un humor negro que provoca más risas que sustos.\n\nLos muertos mastican vísceras como si fuera comida chatarra y gravitan en torno a aquello que hacían o que les obsesionaba cuando estaban vivos. Así, ciertos muertos se amontonan frente a la farmacia, otros con celular en mano buscan una mejor señal de wifi y los niños se atiborran de caramelos y carne humana frente a la tienda de dulces. Jarmusch aprovecha el hambre voraz de los zombies para plantear interrogantes sobre aquello que consumimos con tanto fervor y que nos drena de vida pero que al final nunca nos sacia; para él, los muertos vivientes representa a la sociedad de consumo en plena decadencia putrefacta.\n\nLas referencias cinematográficas abundan en la película, como la remera de Nosferatu y los guiños a la figura de George Romero, director considerado como el creador moderno del cine de zombies que se inició con su película La noche de los muertos vivientes del año 1968. Antes de Romero, los zombies eran nada más que personas controladas por un maestro mediante prácticas del vudú; ni estaban muertos, ni comían carne.\n\nEl metacine, entendido como un término que hace referencia al cine dentro del cine, adquiere una nueva dimensión al interactuar de manera indirecta entre el director, los personajes y el espectador. Pero más allá de las referencias e incluso autorreferencias, en Los muertos no mueren existe en los personajes mismos y en la manera en que dicen sus líneas de diálogo una consciencia omnipresente de estar dentro de una película, lo cual quiebra aún más las barreras del género y del propio cine, y, en última instancia, ofrece una recompensa audaz sobre el trágico desenlace.\n\nLa cuarta pared es un concepto que proviene del teatro, donde el actor está rodeado de tres paredes, dos laterales y una trasera, siendo la cuarta la que se establece entre espectador y actor. “Romper la cuarta pared” es una expresión que se utiliza cuando el personaje mira al público, le dirige la palabra o bien le hace cómplice ya que así se rompe aquella ilusión de la realidad ficticia y esa pared imaginaria entre actor y espectador se quiebra. Aquí, Jarmusch desdobla esa barrera, y propone una interacción indirecta que se da entre el director, los personajes y el espectador, y el recurso cómico utilizado para hacerlo es un indicio más de su talento.\n\nJarmusch ha dirigido su propia interpretación del género western con Dead Man de 1995, ha mezclado el hip-hop con gansters y un samurái en Ghost Dog, el camino del samurái de 1999, y también ha relatado el horror propio del género de vampiros pero escondido en lo mundano y en la tristeza con Solo los amantes sobreviven del 2013. El humor de Los muertos no mueren cobra vida con los zombies gracias al ingenio de Jim Jarmusch quien rompe las reglas de los géneros a su voluntad y los conjuga con elementos ajenos para ofrecer un relato imprevisible teñido de rareza y quietud, atípico en las películas de zombies.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/bh1i9YRj0JI?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Los muertos no mueren (2019)','','publish','open','open','','los-muertos-no-mueren-2019','','','2019-12-26 09:57:31','2019-12-26 12:57:31','',0,'',0,'post','',0),(772,2,'2019-09-06 21:56:02','2019-09-06 21:56:02','<h2 style=\"font-weight: bold;\">Delirios complacientes.</h2>\nÉrase una vez una estrella en decadencia que así como el western también había pasado de moda y que luchaba con ajustarse a los nuevos modelos de producción de la industria cinematográfica. Érase una vez un doble de acción que acompañaba a dicho actor en sus andares cotidianos y altibajos emocionales. Y érase una vez una actriz con una carrera en auge que prometía convertirla en un ícono de su generación. Dichos personajes son Rick Dalton, Cliff Booth y Sharon Tate, sí, la misma Sharon Tate asesinada en el año 1969 por miembros de “La Familia” de Charles Manson. Sobre Manson, ya volveremos. Primero, Hollywood.\n\nÉrase una vez en Hollywood, tal como su nombre lo desvela y la reiteración adrede lo evidencia, transita de manera anecdótica por las calles de la era dorada de Hollywood, los grandes estudios de producción y las deslumbrantes salas de cine, mientras afuera en las calles se gestaba el movimiento hippie. Las escasas propuestas laborales que recibe Rick, entre ellas viajar a Italia para restablecer su carrera como actor del género reinventado conocido como spaghetti western, afecta su relación con Cliff, quien más que un doble es un amigo y quizás el único que tiene. Mientras ambos se abren paso entre los sets de filmación y los barrios icónicos de Los Ángeles, vemos a Sharon Tate saboreando los placeres de su incipiente fama. En compañía de su esposo Roman Polanski, asisten a fiestas en la mansión Playboy donde aparecen salpicadas otras celebridades de la época que destellan fugazmente como los infinitos carteles de neón.\n\nEs de esperar que dichos personajes se encuentren y que sus caminos se crucen en algún momento del relato pero Quentin Tarantino es inmune a las expectativas que se generan dentro y fuera de la sala de cine, incluso previo al estreno de la película. Así, Cliff maneja por toda la ciudad, y maneja mucho; Rick se resigna a ser abatido por la nueva cara joven de la televisión, y Sharon, nada más va al cine y sonríe encantada al escuchar las risas de los espectadores que disfrutan la caracterización del personaje de su última película. Sucesos fortuitos y encuentros casuales, y un sinfín de referencias cinematográficas y autorreferencias a su propio cine plagan un cóctel de todo aquello que ha influenciado su carrera.\n\nLas atrocidades cometidas por el clan Manson pueden borrarse de la historia con el cine, pueden permitir idear un quizás alternativo, un mundo paralelo donde el tiempo se transmuta aunque sea por un instante. Tarantino no es ajeno a las posibilidades de tergiversación de la historia, ni niega el disfrute que puede provocar asesinar a Hitler. Y es aquí donde la película se convierte en otra. Sin concordancia ni justificación alguna, el relato se adelanta unos meses para llegar al 9 de agosto de 1969, la noche del brutal asesinato, como si lo demás fuera solo la antesala de lo que vendrá a suceder. Mientras Sharon, embarazada de ocho meses y medio, disfruta una velada tranquila en compañía de sus amigos más queridos, su vecino Cliff y Rick ahogan las penas de su despedida con alcohol y un cigarrillo mojado en ácido. Lo que sucede después es una secuencia violenta al más puro estilo Tarantino: autocomplaciente y delirante.\n\nPorque Érase una vez de Hollywood es, por sobre todo, el capricho de un director como Tarantino quien a esta altura de su carrera puede darse el lujo de idear fantasías fetichistas con pies, traseros (femeninos, obvio) y sangre, y ser celebrado por ello. Tarantino prolonga el chiste por casi tres horas, para ofrecer de recompensa o castigo una violencia tan explícita que suscita el hartazgo. ¿No repudiamos acaso la brutalidad de los asesinatos del clan? La pregunta que resta es saber si estamos dispuestos o no a ser cómplices voyeristas de sus antojos. En este caso, no.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/3wQC2b7zvIw?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Érase una vez en Hollywood (2019)','','publish','open','open','','erase-una-vez-en-hollywood-2019','','','2019-12-26 10:00:50','2019-12-26 13:00:50','',0,'',0,'post','',0),(773,2,'2019-08-24 16:19:39','2019-08-24 16:19:39','<h2 style=\"font-weight: bold;\">Cuando el susto es efímero.</h2>\nEl gran maestro del suspenso Alfred Hitchcock, cuyas películas hasta hoy en día no han envejecido, establecía una clara diferencia entre el suspenso y el susto. El susto, efectivo, directo, pero fugaz; el suspenso, tormentoso, agobiante, una angustia manipulada a gusto por el director y prolongada por el tiempo que él mismo deseara. El susto puede llegar a un sobresalto, pero en contrapartida, tan pronto como llega, se desvanece. El suspenso puede aferrarte a la silla en espera del instante catalítico que palie la tensión acumulada. Una efectiva combinación de ambas, dosificadas en menor o mayor medida, da como resultado el amplio género de terror, destinado a producir miedo en el espectador.\n\nMorgue narra la historia de Diego, un guardia de seguridad, que tras un accidente traumático, es llamado a relevar el turno nocturno en el Hospital de Emergencias. Pero hay un cuerpo en la morgue cuya presencia posee directa relación con Diego y, a medida que va pasando la noche, sucesos paranormales lo encierran junto al cadáver.\n\nLa premisa cautiva y atrae. ¿Cómo lidia el protagonista con la culpa? ¿Qué hace para sobrevivir la noche de sus pesadillas? Más allá del repetitivo tiempo destinado a introducir el personaje en su dimensión social, que dicho sea de paso no confluye en la resolución de la historia, el problema reside en las interrogantes que se generan y las consecuentes respuestas que pretenden dar una explicación a veces muy rápido y otra veces, de carácter insatisfactorio e inextricable. Por momentos, Diego es inmutable a las presencias paranormales que le acosan; al percibir un ser arrinconado sobre el gabinete de su oficina, una vez superado el susto de la situación, regresa a sus labores de la misma manera que cuando nota que la guampa se mueve sola, nada más la tira y vuelve a vigilar pantallas de seguridad. Porque el susto, como hemos explicado, es efímero.\n\nCuando Diego queda atrapado en la morgue, una seguidilla de sobresaltos agotan con velocidad las posibilidades de conducir el personaje a la locura. En vez de dilatar la tensión al máximo hasta llegar al clímax, recurre a personajes que rellenan con acciones el espacio y el tiempo, en detrimento del aspecto tenebroso inherente al lugar. Y es aquí donde las preguntas se suman, y las respuestas se ignoran.\n\nMorgue posee los ingredientes puntuales para una efectiva película de terror: miedo, susto y suspenso, y hasta un trasfondo de culpa y redención. La falla deriva en la dosificación de dichos elementos, y en la desarticulación gradual que va en aumento a lo largo de la estructura narrativa. Por más que la puesta en escena y el manejo de cámara responde con efectividad a las convenciones del género en una fotografía que incomoda, que anticipa, y que construye el miedo, el uso reiterativo de los mismos recursos (las llamadas a los celulares, la luz que parpadea, las ventanas que se abren y cierran de golpe) diluye el vigor de la premisa. Quizás el encierro llegó muy pronto, siendo que afuera existían aún elementos para explotar la trama, quizás el encierro delimitó un espacio malgastado. Lo cierto es que al final un remate directo y sencillo cae enredado sobre sí mismo.\n\nDel epílogo, no se hace mención, ya que el mensaje moralista sobreimpreso en la pantalla es absolutamente innecesario, al igual que la escena post epílogo descriptiva que puntualiza la relación de la muerte con la morgue. ¿Un poco obvio, no?\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/65DaSkcQBOU?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Morgue (2019)','','publish','open','open','','morgue-2019','','','2019-12-26 10:06:12','2019-12-26 13:06:12','',0,'',0,'post','',0),(774,2,'2019-08-16 18:35:35','2019-08-16 18:35:35','<h2 style=\"font-weight: bold;\">En offside.</h2>\nEl personaje zonzo, pero con suerte, vuelve a las pantallas del cine paraguayo. Esta vez, se llama Rafa, un despensero que tras un error de su hermano, se entera que la despensa de su familia ha sido hipotecada, y, como no tiene abogado, recurre a un actor para que le enseñe a ser el mejor abogado. ¿Por qué? Porque quizás sea más fácil fingir ser otra persona, porque quizás sus habilidades como actor puedan salvarlo de la deuda (no me preguntes cómo), o quizás porque es la fórmula de auto proyección más absurda, un metepatas o un payaso, o quizás porque la historia de Orsai no tiene ni pies ni cabeza.\n\nOjo, se llama Orsai en referencia a la posición fuera de juego, pero no es una película de fútbol, salvo contadas escenas gratuitas en una cancha, o la innecesaria toma aérea de un estadio vacío y tres bombas que estallan a lo lejos. Pero es imposible hablar de la trama sin tener que revelar todo, porque cada cosa que sucede es tan inconexa con la otra que por la mitad de la película es aún difícil comprender hacia dónde se dirige la historia.\n\nLo cierto es que en medio del proceso legal, Rafa conoce a Claudia, una abogada capacitada pero reducida por los hombres que la rodean a sus meras apariencias físicas. Rafa olvida la deuda y entabla una relación con ella a pesar de que alientan a clubes distintos. ¿Cuál es la injerencia del fanatismo futbolístico en esta historia? Ninguna, porque así como la película navega entre abogados y payasos, cabos sueltos abundan: el chico fichado por su hermano que se muda a vivir con ellos cuando debe abandonar el club porque padece de un síndrome caracterizado por la desorientación derecha-izquierda; el hermano que cae siempre en negocios fallidos; y, un séquito de personajes circenses que se materializan cada tanto. Y cómo olvidar del ladrón que irrumpe una cena romántica solo para que Rafa pueda (por accidente) salvar la velada y pasar la noche con Claudia. ¿Quién come sus postres así?\n\nLos supuestos giros en la historia se dan a través del diálogo. Me atrevería a decir que se habla más de lo que sucede; son infinitas las escenas con el juez donde se repiten una y otra vez las mismas palabras en diversas formas: papeles, documentos, acuerdo. Una vez más, limitemos a las mujeres que solo buscan un hombre “caballeroso”, que les compren flores y abran la puerta del auto.\n\nEs que nadie está libre de mofas en Orsai. Desde el chico con discapacidad a la vecina que no pronuncia bien las erres, del nerd con anteojos que babea al hablar a la hermana interesada solo en trivialidades, los estereotipos derrochan de la pantalla, incomodan, y, lo peor de todo, es que causa risas en los espectadores. Dale, sigamos con las burlas, porque es más fácil menospreciar y reírse de aquello que es diferente que tolerar nuestras propias diferencias o respetar al otro.\n\nMención especial al personaje de Bernardo. Ya no estamos en los años ‘90 donde el alivio cómico de las películas del género se valían de un personaje masculino amanerado para provocar las risas, porque bajo las burlas se esconde la construcción de un estereotipo confinado de hombre homosexual. Los chistes con doble sentido no hacen más que cementar y reforzar un constructo limitado, a la vez que permite denigrar al otro.\n\nCuando hoy existe un movimiento mundial que intenta erradicar la violencia en el fútbol, la cena familiar de los Caballero y los Samimbi desemboca en una aparente pelea física cuando se descubre que en una misma mesa están sentados fanáticos olimpistas y cerristas. Un confuso corte a negro revela una herida en la frente de la abogada. ¿Qué sucedió ahí? No sabemos, pero sí podemos afirmar que hubo violencia.\n\nLo más terrible llega al final, en un gesto fortuito, que sucede otra vez en diálogo, cuando la madre de Rafa llama a Claudia y soluciona los problemas como si nuestro personaje fuera un niño incapaz de enfrentar por sí solo las consecuencias de sus propias acciones. Repito, no es una película de fútbol. Tampoco es una película de deudas y demandas. Y menos aún, es una película para niños, a no ser de que quieras explicarle por qué es simpático reírse de alguien que tiene discapacidades o es diferente por la razón que sea. En definitiva, Orsai queda en completo offside. Costumbrismo no es denigrar al otro.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/ZPzjacTB5K8?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Orsai (2019)','','publish','open','open','','orsai-2019','','','2019-12-27 09:37:36','2019-12-27 12:37:36','',0,'',0,'post','',0),(775,2,'2019-08-12 22:39:33','2019-08-12 22:39:33','<h2 style=\"font-weight: bold;\">Tras códigos ocultos y mensajes subliminales.</h2>\nSam está seguro que la cultura popular y los medios masivos de comunicación están plagados de códigos ocultos, una fuerza superior que más que determinar los gustos y las tendencias de consumo del mundo moderno, entraña un mensaje subliminal. Él pasa su tiempo entre videojuegos y cómics, mientras espía a sus vecinos desde el balcón de su departamento. No trabaja, ni parece estar interesado en hacerlo, quizás en un acto de rebeldía pasiva de mantenerse al margen del sistema.\n\nHasta que conoce a Sarah, su nueva vecina. Pero tan rápido como Sam y Sarah entablan una relación, ella desaparece al día siguiente sin dejar rastros; solo un símbolo extraño pintado en la pared y una caja de preciados ítems personales podrían conducir a ella. Sam se embarca entonces en la búsqueda del paradero de Sarah, a la par que las noticias locales advierten la presencia de un asesino de perros que ronda el barrio. Referencias abundan, y pistas encriptadas se esconden en los lugares donde transita Sam, submundos juveniles de alucinógenos y conciertos en cavernas donde una generación intenta encontrar su voz en el mundo. Del disco del grupo musical del momento a una caja de cereal con un mapa, las huellas del posible paradero de Sarah guían una investigación anti climática en túneles subterráneos tras el rastro de personajes crípticos, como el rey vagabundo o el compositor maestro. Anti climático porque resolución no hay, y lo que parece ser una pista, nada más levanta un sin fin de preguntas. Pero es aquí donde la radica la singularidad de Under the Silver Lake, en su carácter circunstancial y pesimista.\n\nEl ambiente misterioso y distorsionado de la fotografía de la película, con lentes que deforman los rostros, construye un enigma más amplio que la desaparición de actrices emergentes de Hollywood, o la repentina muerte de un magnate, en un tono oscuro y enervante que sostiene la incertidumbre hasta el último momento. Personajes irreales se materializan de las páginas de un fanzine, y sueños surreales se impregnan con ladridos perrunos y vísceras desparramadas. Quizás todo esté conectado, quizás no. Pero para Sam, es una conspiración a resolver, más importante que pagar el alquiler o recuperar su auto.\n\nNo son necesarias las explicaciones en este film; cuando todo está tan deglutido a una frase imperativa (comprá, llevá, aprovechá) la rareza persiste en las múltiples capas de interpretación que se desprende de los escenarios, sus personajes y sus diálogos irónicos. Y así como nunca se sabe lo que grita el loro de la vecina hippie de Sam, el desconcierto no se extingue con los créditos finales, tal vez un deseo nuestro de creer en las teorías conspirativas que podrían dar un sentido a la monotonía moderna y capitalista de trabajar todo el año para ganar los doce días de vacaciones anuales, un grito de desamor a la era que nos toca vivir. Porque lo que descubre Sam por el camino a veces oculta un mensaje, o a veces explota con la facilidad con la que un alfiler revienta un globo. Lo cierto es que el mundo absurdo y cautivante que ha construido David Robert Mitchell despierta lecturas sobre lo grotesco y lo descabellado, donde no encontrar sentido exige un nuevo sentido. Un verdadero purgatorio. A disfrutar la estadía.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/6N3RbM2oV94?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Under the Silver Lake (2018)','','publish','open','open','','under-the-silver-lake-2018','','','2019-12-27 09:40:08','2019-12-27 12:40:08','',0,'',0,'post','',0),(776,2,'2019-08-07 13:46:26','2019-08-07 13:46:26','<h2 style=\"font-weight: bold;\">Arte para ser libre.</h2>\nCésar ya murió y la película abre con la secuencia final de la obra de teatro Julio César. Bruto, incapaz de soportar el peso de sus acciones, ni mucho menos matarse, pide ayuda a uno de sus aliados para quitarse la vida y se abalanza sobre una espada. Su cuerpo inmóvil yace en el escenario, hasta que de pronto se levanta y hace una reverencia al público. Aplausos, sonrisas y abrazos. Parece un escenario como cualquier otro, pero pasado el saludo final, unos guardias suben a la tarima para escoltar a los actores. Estamos en una cárcel, y en la cárcel, desaparece el color de la fotografía.\n\nCon andar pesado y resignación sobre los hombros, los tres protagonistas que encararon a los personajes de Casio, Bruto y César regresan a su celda. Aún no sabemos quienes son. Aún desconocemos lo que han hecho, pero de igual manera es posible sentirse enclaustrado por los fríos muros de hormigón y puertas de hierro que cierran con llave la sentencia de cada prisionero.\n\nEste es solo el inicio de Cesare deve morire (2013). Estamos en Rebibbia, una prisión de máxima seguridad en Roma, donde un grupo de reos se prepara para llevar a las tablas la obra de William Shakespeare. Entre ellos, asesinos, traficantes y miembros de clanes mafiosos o de crímenes organizados. El relato se quiebra para volver al inicio de la producción de la obra con la llegada del director de teatro que conduce el casting necesario para seleccionar a los personajes. Y sobre los papeles asignados por el director, la condena asignada a ellos: veinte, treinta, cuarenta años, o incluso cadena perpetua. Pero el libreto de la obra por un instante pierde entre sus hojas el tiempo que les resta a cada uno.\n\nLos hermanos Taviani registran cada instante de la producción desde el ensayo de las primeras lecturas del diálogo hasta la puesta en escena de la obra de teatro en un gesto cinematográfico que lejos de ser teatral, desdobla los barrotes de la ficción y la realidad. Pues existe una obra, sí, pero existe también la prisión y los hombres dentro de ella. Y existe una cámara que se aproxima a los personajes y transmuta el escenario de la prisión a las calles de la Antigua Roma. Decir que es un documental sería negar la ficción entramada en la historia. Decir que es ficción, sería negar el carácter real de cada uno de los hombres encerrados ahí.\n\nAsí como la ficción se inmiscuye con la realidad, la obra intercede en la cotidianidad de los prisioneros, quienes viven sus propios conflictos personales a través de sus personajes. A la vez, disputas irrumpen el parlamento y se solucionan en un proceso de representación casi terapéutico con dialectos italianos y bajo la curiosa mirada de los guardias, breves elementos que por fugaces destellos nos recuerdan dónde estamos. El discurso de Marco Antonio sobre el cadáver de Julio César con los convictos abarrotados sobre las ventanas de sus celdas transcurrió no en el patio de la cárcel, ni en el escenario de un teatro, porque el arte aquí excede al teatro y al cine: es libertad, emancipación e imaginación.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/aTmwTuHyTxg?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Cesare deve morire (2013)','','publish','open','open','','cesare-deve-morire-2013','','','2019-12-27 09:42:53','2019-12-27 12:42:53','',0,'',0,'post','',0),(777,2,'2019-07-25 18:51:58','2019-07-25 18:51:58','<h2 style=\"font-weight: bold;\">Contra los nazis, humor irreverente e indecente.</h2>\nEn plena ocupación Nazi, un grupo de actores de teatro se ven enredados en una misión de para encontrar a un espía alemán infiltrado que llega a Polonia a entregar información peligrosa para los soldados de la resistencia. Entre los actores, está la pareja conformada por Maria Tura y Joseph Tura, quien se considera el mejor actor polaco de todos los tiempos.\n\nLa película inicia con una secuencia de Hitler deambulando las calles de Varsovia como si el país fuera suyo. Pero aún no lo es, y Hitler es solo un actor disfrazado que busca convencer al director que puede ofrecer una actuación memorable. Cuando la función de teatro cancela la obra satírica por motivos políticos (estamos aún en los momentos previos a la ocupación), el ensamble de teatro pone en puesta Hamlet. Durante las líneas más icónicas de la obra de Shakespeare, el Teniente Sobinski se levanta en pleno monólogo para visitar a Maria Tura en su camerino. El ego de Joseph está por el suelo, y Maria, cansada de la atención que él recibe constantemente intenta consolarlo. Y aquí, con las sirenas de alerta, llega la Segunda Guerra Mundial, atroz, brutal y con olor a muerte. Cuando el Teniente descubre que el profesor Siletsky es un espía, una serie de malentendidos se suceden uno detrás de otro hasta que queda en manos del grupo de actores infiltrar la Gestapo.\n\nQuizás tres meses después de Pearl Harbor no sea el momento apropiado para estrenar la película, ¿pero cuándo lo es? La Segunda Guerra Mundial horrorizó al mundo, y lo sigue haciendo hasta ahora. Pero la genialidad de Ernst Lubitsch satiriza con humor sagaz y atrevido este periodo oscuro de nuestra historia, que para él estaba sucediendo y lo estaba viendo con sus propios ojos. Hay que decir que en ese momento el triunfo de Hitler era aún posible. ¿Absurda y de mal gusto? Para nada, todo lo contrario, pues Lubitsch se burla de los nazis (y de su ideología) con humor negro inteligente y punzante que libera carcajadas sobre las ruinas de la ciudad en llamas. ¿Indecente? Sí. ¿Irreverente? Sí, pues la comedia de Lubitsch ilustra a unos nazis brutos y tontos, ciegos que seguían la figura ridícula también de Hitler. Cuando Joseph Tura se disfraza del Coronel Ehrhardt y luego del Profesor Siletsky, resulta tan cómico cómo ninguno de los soldados nazis se de cuenta de tan sobreactuado actor y hasta ilustra la vulnerabilidad y torpeza de los nazis.\n\nUn homenaje al teatro, la historia, con tantos giros narrativos como saludos de “Heil Hitler”, mezcla además la ficción con la realidad, la puesta en escena con la misión, como la fotografía de Hitler colgada en el teatro, que para el director era más realista que el actor que había posado para dicha foto.\n\nTo be or not to be es una comedia negra, un drama, un thriller, un melodrama, todo mezclado en la dosis perfecta que solo Lubitsch y el guionista Edwin Justus Mayer pudieron lograr. Tan inolvidable como la línea “Así que me llaman Ehrhardt Campo de Concentración?” (o me atrevo a decir que cualquier línea de diálogo si vamos al caso), bajo las risas yace una fuerte crítica a la guerra y el rol que Lubitsch optó interpretar a viva voz en dicho contexto.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/7W_B10VbYjI?feature=oembed\" width=\"459\" height=\"344\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','To be or not to be (1942)','','publish','open','open','','to-be-or-not-to-be-1942','','','2019-12-27 09:45:34','2019-12-27 12:45:34','',0,'',0,'post','',0),(778,2,'2019-07-15 22:18:14','2019-07-15 22:18:14','<h2 style=\"font-weight: bold;\">Amor colorido e intrépido.</h2>\nEn un país donde la homosexualidad es ilegal (sí, hay de esos todavía, hasta incluso países donde se puede morir por ser gay), Wanuri Kahiu se atreve a dirigir Rafiki (2019), una historia de amor entre dos adolescentes. La película ha sido el primer largometraje de Kenia en ser exhibido en festival de Cannes, pero aún así fue prohibida en su país de origen por un “claro intento de promover el lesbianismo contrario a los valores dominantes del país”. ¿Suena familiar?\n\nSin embargo, luego de una larga demanda a las autoridades para poder estrenar la película, Rafiki llega a las salas de cine de Nairobi y rompe el récord de taquilla del país, superando la demanda esperada. ¿Curiosidad? ¿Morbo? ¿Miedo? ¿O un paso para discutir y luego abolir la sentencia de 14 años en prisión por tener relaciones con una persona del mismo sexo? Lo cierto es que Rafiki, cuyo nombre significa “amigo” en swahli, es un relato conocido de amor prohibido que en su contexto social se destaca por encima de la narrativa.\n\nKena deambula las calles del barrio en su patineta mientras espera los resultados de los exámenes de admisión a un posible oficio de enfermera. Su padre maneja una pequeña tienda que le permite estar en contacto con los clientes y votantes, y su madre busca consuelo en la Biblia mientras intenta superar la reciente separación marital. Al margen, Kena pasa los días en compañía de Blacksta y sus amigos jugando futbol o en la despensa de Mama Atim, la señora chismosa del barrio. Pero al otro lado de la calle está Ziki, la hija del rival político del padre de Kena quien despierta en ella algo más que curiosidad. Cuando se miran, los ojos punzantes de Ziki traspasa los afiches de propaganda política, y desafía el muro cementado de aquello considerado normal por las personas a su alrededor.\n\nA pesar que su amistad es desaprobada por ambas familias, Kena y Ziki encuentran refugio en una van abandonada o en la terraza de un edificio donde lejos del mundo pueden ser ellas mismas, y pueden atrever a enamorarse. Afuera, el futuro para ambas chicas es claro: buscar un marido con quien casarse (con preferencia, uno de clase social posicionada) cocinar, tener hijos y ser una buena esposa. Pero el amor que nace en ellas abre una posible brecha, y en nosotros, un rayo de esperanza. Y lo hace en un gesto minúsculo, pero no menos ponente sino todo lo contrario. El relato cierra el plano en los detalles más íntimos, las manos que se encuentran, la piel que roza los labios, la torpeza del primer beso cargado de energía y color, porque afuera el miedo y la incertidumbre hostil pueden sucumbir con una simple mirada, o, fuera de la pantalla, con una película como esta.\n\nLo que sucede después no es sorpresa, pero sí dolor, pues nos habíamos sumergido en aquellas conversaciones idílicas donde las ropas tendidas al sol cegaban con su calor. Aún así, Kahiu ofrece un mensaje de valentía, y de cómplice silencio en los lugares menos esperados. Es reconfortante y gratificante saber, por encima de la ingenuidad, que el amor puede contra la religión, la familia y la sociedad, aquellos pilares quísticos del conservadurismo que en Kenia, en Paraguay y en otros países del mundo aún nos anclan.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/7M_-ucSaFpU?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Rafiki (2019)','','publish','open','open','','rafiki-2019','','','2019-12-27 09:47:37','2019-12-27 12:47:37','',0,'',0,'post','',0),(779,2,'2019-07-10 21:44:00','2019-07-10 21:44:00','<h2 style=\"font-weight: bold;\">La agonía del pasado.</h2>\nLa agonía del pasado pesa sobre el cuerpo de Salvador Mallo, un director de cine en pleno declive físico y emocional. Salvador es Pedro Almodóvar, o más bien Antonio Banderas interpreta a Salvador en la última película de Almodóvar, que quizás sea la más autorreferencial hasta ahora.\n\nDolor y Gloria es una película de angustia y de amor: amor al cine y amor al tiempo, y amor al dolor. Estilizada al más puro estilo almodovariano (si tal palabra existiese), el rojo intenso pinta la fotografía con pasión y tormento, con diálogos dulces que punzan el alma. El malestar físico que siente Salvador lo ha impedido disfrutar hasta de su propia casa; se ve obligado a pasar largas noches sumido en la oscuridad preso del insomnio producto del dolor que lo acosa. Nada de gloria para un director exitoso. Al menos, por el momento, solo soledad. Y confinamiento.\n\nPero la Filmoteca Española ha decidido reestrenar una de sus primeras películas, y la excusa de este estreno sumado al casual encuentro con una vieja amiga (un cameo de Cecilia Roth) desencadena una serie de hechos fortuitos en la vida de Salvador. Se conecta así, por casualidad, con Alberto, el actor protagónico de “Sabor” con quien no había hablado hace más de treinta años. Como si nada, la amistad entre ambos se retoma, bajo el pretexto del evento de presentación de su película. Y es, a raíz de este encuentro, que Salvador conoce la heroína.\n\nLa heroína a su vez conduce a Alberto a la computadora de Salvador, donde encuentra un escrito titulado “Adicción” sobre la infancia de Salvador y su relación conflictiva con un gran amor, hace ya varios años cuando se iniciaba como director de cine. Alberto se enamora del texto, muy a pesar de Salvador quien lo había escrito en un arrebato terapéutico y no con fines de llevarlo a la pantalla. Pero este escrito marca el regreso del actor al teatro, bajo una obra biográfica anónima que provoca una lluvia de lágrimas en los ojos de los espectadores, y de uno en particular. Y las casualidades siguen, se ramifican y vuelven, en un ir y venir bajo el sol febril de Paterna, el pueblo de infancia de Salvador, y cócteles de pastillas antidepresivas mezcladas con yogurt.\n\nPorque el pasado y el presente se descubren y reencuentran; así como un sueño se inmiscuye dentro del otro, el pasado se entierra en el presente, y una película esconde otra bajo el zurcido invisible del relato reflexivo del director. ¿De Salvador? Sí, también, pero aquí nos referimos a Almodóvar, quien visita sus temas predilectos con una madurez contemplativa y reflexiva. No juzga, observa y transita. Se sumerge al agua y renace, se arrodilla sobre un almohadón para buscar respuestas en la cajita de madera donde disimula su adicción, como rezando al Dios que no cree o dice creer en momentos de desconsuelo total.\n\nAlmodóvar habla de sí mismo, se ilustra, se expone. La relación maternal, la religión, el despertar sexual conforman las aristas de un todo, un director que mira atrás resguardado bajo el lente de sol de un doble imaginario, pero no así menos sensible. Habla de la amistad, de la pasión, del amor. De la infancia y de la madurez. Habla de su vida, para hablar de la vida.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/uJu7FAIdeyQ?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Dolor y Gloria (2019)','','publish','open','open','','dolor-y-gloria-2019','','','2019-12-27 09:57:07','2019-12-27 12:57:07','',0,'',0,'post','',0),(780,2,'2019-07-01 19:32:34','2019-07-01 19:32:34','<h2 style=\"font-weight: bold;\">Descubrimiento y redención en un drama familiar.</h2>\nRyota, un arquitecto obsesivo, trabaja día y noche. Los sacrificios que hace Ryota en pos de proveer lo mejor para su familia lo priva sin que se de cuenta de quizás lo más importante, tiempo. Es que hace ya varios años que apenas dispone de momentos libres para pasar con Midori, su esposa, y Keita, su hijo; siempre hay algún proyecto grande que acapara hasta sus fines de semana. Pero la promesa incumplida de estar más libre persiste ante la paciente espera y comprensión de su esposa, pero tanto ella como nosotros sabemos que eso no va a pasar.\n\nEstructurado y disciplinado, Ryota defiende los sacrificios de hoy para un mejor futuro, y busca inculcar estos valores estrictos a Keita, dejando que la madre, como él mismo lo afirma, “se encargue de malcriarlo”. Muy a pesar suyo, Keita es un niño tímido y relajado, pero astuto, ya que es capaz de mentir a los profesores en la entrevista de admisión para no evidenciar la ausencia de su padre. Aún así, Keita siente nada más que admiración y devoción hacia su papá, y hasta toca el piano sólo para hacerlo feliz. El niño observa a su papá a través de la lente de la cámara, y captura fugaces destellos en los que Ryota baja la guardia y sonríe. Pero la rutina familiar se ve alterada cuando un test de sangre revela que Keita no es el hijo biológico de la pareja, ya que en el hospital fue cambiado por otro niño.\n\nLa noticia deja en shock a la joven pareja. No existe una solución sencilla al problema, ni un manual sobre qué hacer en estos casos. Ambas familias afectadas se ven enfrentadas a tomar una decisión, a la par que encaran un juicio al hospital para averiguar lo que sucedió y demandar por daños y perjuicios. Pero la recompensa monetaria es lo de menos. Midori no deja de culparse por no haber reconocido a su hijo, mientras que Ryota atribuye aquellas cualidades de carácter defectuoso que observa en Keita a que él no es su hijo de sangre. Para colmo, las familias no podían ser más distintas. Los Saiki provienen de una clase social muy distinta, y siempre llegan tarde a cualquier cita o reunión. Yudai, el papá de Ryusei, se las arregla vendiendo insumos de ferretería y plomería en una pequeña tienda montada al lado de una modesta casa, en contraste con el moderno departamento lujoso de los Nonomiya.\n\nLa familia, un tema no ajeno a la filmografía de Hirokazu Koreeda, vuelve a ser contemplada pero esta vez con un enfoque particular hacia la paternidad. La premisa de la historia podría sugerir un drama intenso y desgarrador, pero la sutileza del director guía a sus personajes en un camino de descubrimiento personal y aceptación donde no existen culpables. Hasta la enfermera que cambió a los niños despierta compasión, en un relato que contempla los pequeños detalles que enriquecen las relaciones familiares, a la par que observa la transformación lenta y gradual del padre.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/8H1Otrv1VKM?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','De tal padre, tal hijo (2013)','','publish','open','open','','de-tal-padre-tal-hijo-2013','','','2019-12-27 09:56:26','2019-12-27 12:56:26','',0,'',0,'post','',0),(781,2,'2019-05-27 19:46:36','2019-05-27 19:46:36','<h2 style=\"font-weight: bold;\">Tacones negros sobre las ruinas de Alemania.</h2>\nTras un matrimonio de día y medio, el marido de María Braun es enviado al frente ruso. Cuando la guerra termina, y él no regresa, María encuentra la manera de proveer sustento a su familia, en medio de los escombros de una Alemania destruida y hambrienta, y en pleno asedio de las tropas aliadas.\n\nRainer Werner Fassbinder hace añicos, literalmente, la imagen de Hitler para revelar la otra cara del milagro económico alemán, en un relato cínico incapaz de olvidar las contradicciones de un colectivo enfocado en ocultar su pasado. Entre soldados americanos y empresarios adinerados, María se adapta y sobrevive, miente y mata, porque, como bien lo dice, prefiere crear milagros que esperar por ellos. A través de ella, el director realiza una crítica puntual a la sociedad alemana de la posguerra, que, para recuperar el prestigio económico que tenía, sellaba el pasado con ladrillos y perseguía el dinero y el ego como vías de recuperación, pero a costa de su propia destrucción y degradación interna.\n\nLas emisiones radiales compiten con el relato para evidenciar el contexto histórico. La banda sonora supera por instantes a los diálogos de los personajes en momentos clave, sin preocuparse por la predominancia de uno u otro, con la intención de otorgar la misma importancia a ambas caras de la realidad. Por ejemplo, cuando María se deshace del cartel con la fotografía de su marido, se escucha en la radio el listado de personas desaparecidas, o cuando ella cena en un lujoso restaurante, se escucha el discurso de Konrad Adenauer, primer canciller de la República Federal de Alemania, que insta el rearme, siendo que cuando María inicia su trabajo como asistente tan solo escenas antes, el canciller se pronuncia en contra del rearme de Alemania.\n\nSiguiendo aquella idea paradójica y discordante, martillazos y carcajadas acompañan los movimientos de cámara fluidos que van con libertad de planos abiertos a primeros planos, o que espían a personajes tras una ventana o detrás de un muro. Algunos, quizás, sienten la opresión del espacio, como la secretaria del empresario que observa a María a través de las plantas de su escritorio; otros ignoran lo que sucede, como esa pareja en el restaurante, tan ensimismada que no se voltea a mirar lo que sucede cuando se cae una copa. Lo que es cierto es que el pueblo padecía hambre, y la moral estaba devastada. Mientras la burguesía recuperaba su acomodo, los cigarrillos se convertían en un lujo, y los libros, en leña. Pero la heroína utiliza su actitud y belleza para conseguir todo lo quiere, con la mira siempre hacia el futuro e ignorando las preocupaciones de hoy. Sus tacones negros sobre los escombros de lo que alguna vez fue su colegio es un recuerdo de cómo ella logró reconstruirse, pasando por alto aquello que la destruyó. La ocupación aliada recuerda con insistencia la culpa de los alemanes en la destrucción de su propio país, pero gracias a dos cajas de cigarrillos que recibe María como disculpas de un soldado, ella consigue un broche, que a su vez le permite conseguir un vestido, gracias al cual consigue trabajo en un bar donde conoce a su amante.\n\nParte de la trilogía conocida como BRD (Bundesrepublik Deutschland, el nombre no oficial utilizado por el régimen comunista de Alemania del Este para referirse a Alemania del Oeste durante la década del ’70 al ’90), cuando la ocupación pretendía la neutralización completa, la protagonista busca su posición socioeconómica dentro del mundo patriarcal, y, siempre fiel a su amor idílico, su marido, utiliza a hombres en pos de la promesa del futuro reencuentro. Pero este futuro nunca llega, y cuando lo hace, ella ya no es la misma, ni él tampoco. Lo queda es ese falso nacionalismo festejado a través de la final de fútbol emitido por la radio, y, por si fuera poco, una explosión la destruye con sus sueños, como si estuvo siempre ciega creyendo en un ideal feliz.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/78UN9fYAOr8?feature=oembed\" width=\"459\" height=\"344\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','El matrimonio de María Braun (1979)','','publish','open','open','','el-matrimonio-de-maria-braun-1979','','','2019-12-27 10:02:08','2019-12-27 13:02:08','',0,'',0,'post','',0),(782,2,'2019-04-29 18:22:56','2019-04-29 18:22:56','<h2 style=\"font-weight: bold;\">Entre lo íntimo y lo cotidiano.</h2>\nDos relatos en paralelo, pero unidos por la casualidad física, tejen la historia de La pointe courte (1955), la primera película de Agnès Varda. Por un lado, la vida de los habitantes como una comunidad, con sus problemas y luchas cotidianas: el hambre, las enfermedades y la pobreza. Por el otro, una pareja que se encuentra allí de vacaciones para resolver los problemas de su matrimonio. Él, oriundo del pueblo, ella, parisina. Entre la ficción y el documental, la mirada de Varda explora los patios vacíos del pueblo, las sábanas colgadas al sol, los canastos de moluscos y los gatos, imágenes que se alternan con la narración de la joven pareja que monologa sobre el desamor en un encuentro al borde de la ruptura. Cuando él habla de amor hacia ella, ella habla de amor a una idea, una costumbre, como la sensación de comodidad hacia lo conocido. El choque entre las dos tramas presentan estéticas diferentes, un relato con tintes neorrealistas y una conversación introspectiva y casi irreal que se contestan para evidenciar los límites entre lo cotidiano y lo íntimo.\n\nLa pointe courte es una reflexión sobre el amor ya no sustentado por la pasión y el descubrimiento inicial. El contraste narrativo repercute en cada aspecto de la película, desde la ausencia de argumento o conflictos irresueltos en la vida de los pescadores, a los largos paseos de la pareja que deambula el pueblo en medio de un diálogo teatral y profundo que se desarrolla en un tono casi monótono a pesar de la intensidad de las verdades que cada uno confiesa. El matrimonio incapaz de alcanzar la felicidad es un elemento foráneo e inusual frente a los hábitos del pueblo. Es más, tanto sus personajes como los actores que los encarnan, se contraponen a los habitantes no actores que más de una vez miran a cámara. Pero eso tiene poco o nada de importancia. La composición de los planos de la pareja juegan con la perspectiva; cuando él la mira, ella está de perfil y cuando ella lo mira, él está de perfil. La conversación de la pareja evade la realidad, flota por encima de la pobreza del pueblo, pero en igual de importancia sonora a los comentarios fortuitos de los pueblerinos que les observan. La cámara se mueve con elegancia y confianza, en un estilo experimental único que busca en los largos travellings la intimidad perdida de la pareja a la vez que expone con honestidad el arduo trabajo de una clase social marginada.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/lrJE9Jmpquw?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','La pointe courte (1955)','','publish','open','open','','la-pointe-courte-1955','','','2019-12-27 10:04:21','2019-12-27 13:04:21','',0,'',0,'post','',0),(783,2,'2019-04-16 17:22:55','2019-04-16 17:22:55','<h2 style=\"font-weight: bold;\">El ser humano es un parásito.</h2>\nTina vigila la frontera de una manera muy particular: bajo su extraño aspecto, ella puede oler el miedo y la culpa que ocultan las caras anónimas que cruzan la aduana día a día. Es quizás aquí el único lugar donde pasa desapercibida; a no ser que detenga a alguien por tráfico de alcohol o pornografía, la gente evita observarla, los perros se alteran ante su presencia y ella vive confinada en el bosque, donde la naturaleza le ofrece el consuelo que no encuentra en ninguna otra parte.\n\nHasta que conoce a Vore, o más bien, huele algo que él oculta. Su olor le produce curiosidad y excitación, una sensación extraña que aflora todos sus sentidos. Hay algo además en su actitud despreocupada: no encaja, pero no le interesa, mientras que Tina se ha esforzado toda su vida por no incomodar a nadie. Y es aquí donde la película, a través de dos tramas en paralelo, teje una historia de descubrimiento, por un lado, y por el otro, gracias al olfato de Tina, un policial con agentes en búsqueda de desmantelar una red de tráfico de bebes, algo más espeluznante que cualquier película de horror porque no es ninguna fantasía. Es ilusorio pensar que las historias no se cruzarán, porque la verdadera identidad de Tina tiene un precio. Y no es nada agradable.\n\nBorder critica sin escrúpulos el rechazo de la sociedad hacia aquello que lo considera fuera de sus estándares encasillados bajo la palabra “normal”. Entre el horror y la fantasía, aquello que más asusta no son ni Tina ni Vore, seres con fisionomía sexual distinta que corren en el bosque desnudos y se alimentan de gusanos. Al fin y al cabo, ellos son meros sobrevivientes, una minoría rechazada y abusada que ha logrado encontrarse. En cambio, la humanidad, que tanto se ha esforzado por juzgarlos, es una raza que de evolutiva no tiene nada. Porque lo que más da miedo, y aquello que quedará latente después de los créditos, es cómo el ser humano es capaz de alimentar sus placeres morbosos y depravados a costa de otros seres humanos. Un parásito que infecta el mundo entero.\n\n<iframe src=\"https://www.youtube.com/embed/fDXfnSf829o?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Border (2018)','','publish','open','open','','border-2018','','','2019-12-27 10:06:36','2019-12-27 13:06:36','',0,'',0,'post','',0),(784,2,'2019-03-29 22:34:07','2019-03-29 22:34:07','<h2 style=\"font-weight: bold;\">Empoderamiento femenino en un thriller de venganza.</h2>\nLa directora francesa Coralie Fargeat debuta con su primer largometraje Revenge, un thriller atrevido y desesperante situado en el medio del desierto. Cuando los amigos del novio de Jen interrumpen su pequeña escapada romántica, el calor, el alcohol y los excesos no hacen más que elevar la tensión en la casa. Tras un evento traumático, nuestra protagonista emerge del fuego en busca de matar a quienes la hicieron daño.\n\nComo tema, la venganza; y como protagonista, una mujer abusada y ultrajada por los hombres que la rodean. La estética visual elegida para narrar esta historia sangrienta, con una paleta de colores sobre saturados, entre el rosado, el azul del cielo y el naranja del sol, estiliza la violencia y la sexualidad con un look pop inusual para el género, pero que, al igual que la elección de una mujer en el rol protagónico, rompe con los estereotipos configurados en torno a ese tipo de películas. Jen no es como los hombres piensan que es; Revenge, tampoco. Con pocas líneas de diálogo, y solo dos espacios, el desierto y la casa, la cacería ensangrentada que se desencadena es una agonía física que retuerce de dolor las entrañas, pero a la vez impredecible por su ritmo furioso condicionado por la ira de la heroína. Ya el espacio propone un escenario antagónico y hostil que pondrá trabas a los personajes, además de la lucha contra el tiempo por sobrevivir y no morir en el intento.\n\nRevenge no es ajena a las convenciones del género, pero la estilización y el montaje, y el carácter rudo invencible de Jen, quien en ropa interior y armada hasta los dientes causa terror, hacen de la película un viaje más que entretenido. Vale decir que es apta para espectadores con un estómago resistente pero que, sin embargo, bajo los litros de sangre, la realizadora se cuestiona la libertad sexual que tienen la mujeres juzgadas bajo ojos masculinos.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/sJtH-tzpOmg?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Revenge (2018)','','publish','open','open','','revenge-2018','','','2019-12-27 10:26:08','2019-12-27 13:26:08','',0,'',0,'post','',0),(785,2,'2019-03-27 17:56:56','2019-03-27 17:56:56','<h2 style=\"font-weight: bold;\">Terror absurdo en el mundo del arte.</h2>\nUn crítico de arte, una galerista ambiciosa, una asistente saturadas del trabajo, un artista en busca de inspiración, un artista emergente, un montajista descuidado y un fallecido artista. ¿Demasiados personajes? Pues sí, pero eso es lo de menos en la nueva película de Dan Gilroy, Velvet Buzzsaw (2019), que ya de entrada se pierde en el relato con una extensa introducción a sus personajes. Vayamos por parte.\n\nAmbientada en la movida artística de Los Ángeles, donde el arte equivale a ceros en un cheque, Josefina descubre por casualidad la obra de Ventril Dease, su vecino de arriba quien muere sin dejar herederos, ni familiares, ni amigos. Su único pedido: que toda su obra sea destruida. Como estamos en una película, es obvio que eso no sucede. Ella aprovecha dar un salto al éxito, y gracias al aval del crítico, quien queda fascinado por la crudeza inquietante de la obra, empieza a sacar provecho de las pinturas. Pero el deseo de destruirse queda impregnada en la obra, y la película cambia de tono y de dirección sin previo aviso. De un planteamiento inicial que pretendía criticar el ajetreo en el mundo del arte, muta a una serie de asesinatos que nada tienen de especial, más que la cantidad de sangre salpicada.\n\nEl poder del fantasma raya lo absurdo; es un ente maligno que posee y se encarna en cualquier obra de arte. Y no es necesario que sea la obra del pintor maldecido, sino aparece en un grafiti, en una escultura, en un dibujo, sin motivo más que asesinar. ¿Por qué? Quién sabe. Ni la excentricidad de Morf bajo la mano de Jake Gyllenhaal puede salvar la película, que termina siendo ni entretenida ni superficial ni mucho menos tenebrosa.','Velvet Buzzsaw (2019)','','publish','open','open','','velvet-buzzsaw-2019','','','2019-12-27 10:28:55','2019-12-27 13:28:55','',0,'',0,'post','',0),(786,2,'2019-01-31 17:04:19','2019-01-31 17:04:19','<h2 style=\"font-weight: bold;\">Miradas y silencios en medio de las llamas.</h2>\nJeanette y Jerry viven con su hijo Joe en un pequeño pueblo de Montana. Estamos en los años 60. La familia sobrevive gracias al trabajo de Jerry, lustrabotas y cuidador de una cancha de golf. Jeanette se encarga de la casa y de cuidar a Joe. Nada parece estar fuera de lo común en esta familia, ni siquiera Joe quien finge disfrutar del fútbol solo para complacer a su padre. Pero afuera, el incendio forestal fronterizo amenaza con llegar al pueblo, y con las llamas, llegan los problemas. Cuando Jerry pierde su trabajo, el golpe es tal que lo único que tiene sentido en él es ir a combatir el fuego. Las súplicas de su esposa e hijo son en vano; Jerry está decidido en ir a apagar el fuego y deja solos a Jeanette y Joe.\n\nNarrada desde el punto de vista de Joe, la trama está tintada por su visión limitada, y por la poca injerencia que él tiene sobre la estructura narrativa. No hay fuerzas oponentes, ni relaciones contradictorias entre los personajes. En esto radica la belleza contemplativa del drama familiar de los Brinson. Jerry queda ausente, reducido a llamadas telefónicas no contestadas. Y Joe es un mero espectador, que al igual que nosotros, contempla la disolución de sus padres, esas personas que alguna vez se amaban, y cuyo amor podía sostener la felicidad dentro de una casa modesta y pequeña. Pero a Joe le sucede algo. En una noche, su adolescencia pasa de largo, como el tren que atraviesa el pueblo. Ya no es un niño, y casi por decisión propia. Debe trabajar después del colegio, preparar la cena y arreglar el inodoro del baño, todo esto mientras observa el lento (pero intenso) desmoronar de su madre. Y afuera, el fuego se sigue expandiendo, llevando consigo su inocencia.\n\nBajo el quietismo de Joe, Jeanette resplandece. Su personaje, quizás fuera de época, no queda confinado a la cama, sino que busca con actitudes insistentes y un carácter impetuoso, adaptarse a su nueva vida. La felicidad de ella no esta supeditada a su marido. Su vida no debería por qué ponerse en pausa. Ideas, estoy segura, que no tenían cabida aún en los suburbios norteamericanos, como una premonición al movimiento feminista de los ’60 que vendría a tambalear las estructuras sociales.\n\nLos clientes de la tienda de fotografía donde trabaja Joe, con sus poses puestas y sonrisas perfectas, como íconos de la agraciada familia de clase media, se contrastan con la soledad de Jeanette y la ira contenida en su silencio. Joe ubica a las familias frente a un fondo azul grisáceo, con una iluminación cálida, sin sombras oscuras. Parece tomar esa fotografía que irá al portarretrato sobre la chimenea, retratos dignos de aparecer en un catálogo de muebles para el hogar. Quizás sea el anhelo de una felicidad, aunque sea montada y falsa, lo que desea Joe. O al menos recuperar esa imagen de familia ideal que había marcado su niñez. Pero las circunstancias han cambiado, y la felicidad posada se contrasta con las imágenes de Jeanette enmarcada tras un mostrador, sola en medio de la calle, o volviendo a casa en bicicleta con el humo negro de fondo que contamina el perfecto cielo azul, como reflejos de su lucha interna entre el resentimiento y el olvido. A pesar de estar confinada en la casa, ella se desprende de ese espacio cómodo en busca de algo que reemplace las frustraciones del hogar quebrado. Cada vez que lo hace, el mundo exterior se materializa como hostil, en una composición fotográfica y puesta en escena que la abruma hasta cuando elige los productos más baratos en las góndolas del supermercado, o cuando pretende cruzar la calle en una toma en picada que dibuja la calle como una barrera que trunca su vida, y ella, pequeña e insignificante, lo hace de igual manera.\n\nLa iluminación natural baña con luz uniforme a sus protagonistas, como un suave tamiz que otorga un ambiente íntimo a la historia. La oscuridad de la noche, y las luces de noche que dibujan sombras marcadas en los rostros de los personajes, están reservadas para los picos emocionales de confrontación y disputas. Es frecuente además la composición de la casa en un plano general y sus personajes ubicados adentro o afuera con la intención de remarcar que adentro sucede algo, pero afuera sucede otra cosa. Las ventanas de la casa son pequeños espacios por donde podemos, en pequeñas cuotas, espiar aquellas acciones que nos darán pistas sobre las emociones por las que atraviesan los personajes. Por estos pequeño huecos, la inocencia de Joe se ve puesta a prueba en las desapariciones injustificadas de su madre, en las llamadas telefónicas que no son contestadas y en las cosas que él observa a través de la ventana.\n\nJoe observa impotente como su madre, al contrario de lo que podría esperarse de una mujer ama de casa ejemplar de esa época, no se queda de brazos cruzados esperando el regreso de Jerry. Ella se maquilla, se arregla, desempolva atuendos de épocas pasadas de juventud. Pero el director no la juzga ni la retrata como una villana. Los personajes son como nosotros, personas expertas en cometer errores. Paul Dano retrata el lento quemar de una familia consumida por el fuego desde el punto de vista de Joe, quien trata inútilmente de comprender el extraño actuar de sus padres. Hay miradas incómodas, miradas cómplices y miradas que imploran explicaciones.\n\nHay un poder hipnótico que ejerce el peligro del fuego, así como en el derrumbe de la familia de los Brinson. Continuando con la dualidad adentro y afuera, sustentada en el uso de las ventanas, de la misma manera el fuego cataliza los problemas dentro y fuera del hogar. Afuera, quema el bosque. Lo hace con lentitud, pero no deja de propagarse ni se amenazar con llegar al pueblo. Poco a poco, carcome los árboles del bosque, de la misma manera que el matrimonio de los padres de Joe se deteriora, de manera irreparable. Es imposible recuperar un árbol quemado. ¿Será posible recuperar un matrimonio roto?\n\nWildlife supone además una profunda contemplación hacia lo que está fuera de campo. Las actuaciones de Ed Oxenbould y Carey Mulligan, resaltadas por el uso de primeros planos mudos, hablan más fuerte con sus miradas que con cualquier línea de parlamento, y construyen con sus gestos una ansiedad por descubrir qué es lo que está fuera de la imagen; por más que se intuya lo que se está observando, mucho se deja a curiosidad del espectador, como los diálogos entre Jerry su jefe, o las peleas entre Jeanette y Jerry que son narradas a través del rostro de Joe cabizbajo, testigo de la escena, pero no partícipe. Joe es como el espectador, quien solo puede contemplar lo que sucede, y Jeanette en su desesperación, muta de madre y esposa perfecta a adolescente rebelde. El montaje dilata con inteligencia los momentos fuera de campo. Más que sugerir una reacción, invita a la reflexión, a la interiorización de aquello que está sucediendo pero no sabemos qué es. Estimula al espectador a completar el contra plano en una escena de diálogo por un rostro que expresa aquello que para nosotros falta, puede ser una mirada enfurecida, unos ojos incrédulos, o una respuesta ahogada en el silencio. Lo maravilloso es que cada uno tendrá en mente una reacción distinta, y el espectador es libre de malear a discreción pequeños fragmentos del relato.\n\nJeanette lleva a Joe de paseo al puesto de control frente a las llamas, en la secuencia más preciosa de la película. Joe baja del auto, sabemos que está observando el fuego, pero la necesidad de ver este espectáculo a través de sus ojos se dilata con el suave crepitar de las llamas hasta el punto que dudamos si habrá una recompensa o no. La hay. Joe desea y espera, casi como un deus ex machina, que llegue la nieve que traerá a su padre de regreso a casa. Para él, el regreso de Jerry pondrá fin a los problemas que pudo haber causado su partida. Pero tal como afirma una compañera de Joe, Si el fuego llega, será muy tarde. Para Jeanette y Jerry las llamas llegaron y de hecho, ya fue muy tarde.\n\nSus aprendizajes en la fotografía no fueron de utilidad para Joe, ya que él fracasa en congelar ese pequeño momento de su vida, donde todo estaba perfecto, pero quizás con una fotografía de su familia puede al menos, con una sonrisa, recordarlo como tal en un registro falso, pero reconfortante.\n\n<strong>Trabajo realizado como parte del programa del Master en Crítica Cinematográfica de Aula Crítica</strong>\n<div><a href=\"http://aulacritica.com/\" target=\"_top\" rel=\"noopener noreferrer\">http://aulacritica.com/</a></div>','Wildlife (2018)','','publish','open','open','','wildlife-2018','','','2019-12-27 10:33:53','2019-12-27 13:33:53','',0,'',0,'post','',0),(787,2,'2019-01-16 17:08:00','2019-01-16 17:08:00','<h2 style=\"font-weight: bold;\">La tan sufrida adolescencia bajo una mirada realista y sensible.</h2>\nEn un video casero, filmado desde su computadora, Kayla habla sobre la importancia de ser uno mismo y no fingir ser alguien más. Admite que la gran mayoría de sus compañeros piensan que ella no habla mucho, pero que en realidad eso no es verdad. A medida que la cámara se aleja, descubrimos a Kayla, en la esquina de su oscura habitación, en un set improvisado con lámparas como luces y una sábana como tela de fondo. La imagen virtual que proyecta en sus videos no puede estar más alejada a su personalidad real, una chica insegura que intenta entablar, sin éxito, algún tipo de relación con sus compañeros.\n\nA Kayla le queda una semana más de supervivencia en el octavo grado, y quizás una semana más para librarse del estigma de ser la más callada del curso. El espejo de su baño está cubierto en mensajes de motivación, que la incitan a dar lo mejor de ella cada día, y de hecho, lo hace. Su rutina arranca con un video tutorial de maquillaje en YouTube, seguido de una selfie en Snapchat y lista para enfrentar el día. Pero para sus compañeros, absortos en las redes sociales, ella es invisible. Y la tecnología solo dificulta la interacción cara a cara. Con sus rostros pegados a la pantalla, tanto chicas como chicos la ignoran por completo. El sufrimiento que produce este vacío es distinto al de ser humillado, o víctima de bromas constantes, pero es una angustia igual.\n\nCon un tono natural, tanto así que parece un documental, el director Bo Burnham, quien en su adolescencia fue una estrella viral de YouTube, ofrece una mirada realista sobre la adolescencia, esa terrible edad plagada de inseguridad, hormonas y acné, a través de momentos intensos cargados de emociones, tanto malas como buenas. La película se enfoca en las dificultades por las que Kayla atraviesa, sin caer en un tono condescendiente ni abusar en la crueldad. Además, gracias a la fabulosa interpretación de su actriz protagónica Elsie Fisher, podemos compartir con Kayla aquellos pequeños momentos de felicidad que son todo para ella, y para el espectador también.\n<div></div>\n<div></div>','Eighth Grade (2018)','','publish','open','open','','eighth-grade-2018','','','2019-12-27 10:46:40','2019-12-27 13:46:40','',0,'',0,'post','',0),(788,2,'2019-01-09 17:12:02','2019-01-09 17:12:02','<h2 style=\"font-weight: bold;\">Una fábula mágica sobre la bondad y la felicidad.</h2>\nLazzaro, un joven campesino ingenuo y optimista, vive en la zona rural de Italia donde sus habitantes trabajan la tierra arduamente en un intento de saldar la deuda que deben (y se siguen acumulando) a la dueña de la propiedad, la Marchesa ­Alfonsina de Luna.\n\nEs confuso determinar en qué época estamos, así como tarea casi imposible hablar de esta película sin ahondar en la trama. Es que en la Inviolata los habitantes se mueven con una sola lámpara, llevan serenatas a sus pretendientes, y no hay indicios de ningún tipo de tecnología, salvo un camión o una motocicleta que irrumpen este espacio congelado en el tiempo. La relación de dependencia laboral insinúa además una esclavitud feudal sostenida a través de los años con la ayuda del cobrador, encargado de mantener bajo control a los campesinos quienes creer ser la propiedad de alguien.\n\nEn este extraño mundo, la bondad de Lazzaro, complaciente a las demandas más insólitas de su familia extendida, sumada a su tierna sonrisa, parece pertenecer a otra realidad, despojada de egoísmo y de relaciones oportunistas.\n\nA mitad de la película, el escenario cambia drásticamente. Lazzaro despierta solo para darse cuenta que perdió todo, todo menos quizás su felicidad. Él emprende una búsqueda incansable, las estaciones avanzan, hasta que vuelve a encontrarse con los personajes de la Inviolata, quienes viven ahora bajo una situación similar o peor, aún presos de las condiciones de pobreza y marginalización social, pero que, de alguna manera, sobreviven.\n\nLa fotografía de la película, grabada en una cámara de 16 milímetros, otorga un tinte sepia y granuloso que remite a un mundo de ensueño en contraposición con la mirada neorrealista y costumbrista del relato. La conjunción resulta en una historia imprevisible, y un viaje a ciegas entre emociones nostálgicas y reflexiones sobre la felicidad.\n\nLazzaro Felice es una fábula mágica sobre la bondad y el tiempo, y la simpleza de su personaje puesto a prueba por la realidad terrenal del mundo hostil, gobernado por el capitalismo despiadado y personas codiciosas. Alice Rohrwacher, la directora, sin escatimar en recursos simbólicos y metafóricos, te pregunta ¿qué te mantiene con vida? ¿La felicidad?','Lazzaro Felice (2018)','','publish','open','open','','lazzaro-felice-2018','','','2019-12-27 11:28:55','2019-12-27 14:28:55','',0,'',0,'post','',0),(789,2,'2019-01-03 17:14:00','2019-01-03 17:14:00','<h2 style=\"font-weight: bold;\">Buscando al asesino desde una cabina.</h2>\nAsger, un oficial confinado a derivar llamadas telefónicas de emergencia en las cabinas de atención de la estación policial, espera con paciencia que acabe la tediosa jornada. Pero al recibir una llamada de auxilio de una mujer secuestrada, desde su escritorio, hará todo lo posible por salvarla en una carrera contra el tiempo y contra él mismo.\n\n<span style=\"font-family: inherit; font-size: 1rem; letter-spacing: inherit;\">Ambientado en una sola locación, y con el tiempo del relato corriendo a la par que la película, Den Skyldige es el resultado en conjunto de una inteligente puesta en escena sostenida en la actuación, el guión y la dirección construida en función a elevar gradualmente la tensión.</span>\n\nA través de los recursos sonoros se manifiesta un fuera de campo invisible pero perceptible; los silencios, los diálogos, las pisadas y hasta el movimiento del auto que oímos a través del auricular de Asger es nuestro único contacto al mundo fuera de la cabina. La impotencia es tal, que este espacio se convierte en una cárcel, claustrofóbica e indestructible. Gracias a los oídos del protagonista que actúan como los nuestros, escenas transcurren en su totalidad en nuestra imaginación.\n\nLa trama no se concentra en solo de resolver el misterio y encontrar al culpable, sino que indaga en el carácter del personaje y su turbio pasado. De poco, como tirando de un hilo, o persiguiendo pistas que conducen a un callejón sin salida, secretos se develan, pequeños pedazos de información que vuelcan la historia y ponen a prueba nuestra tolerancia.\n\nCon el rostro de Asger en un casi constante primer plano, en la mente del espectador, la violencia adquiere una forma tan horripilante que revuelve las tripas. Cuando \"Mostrar, no contar\" suele ser una regla de oro en el relato cinematográfico, el director Gustav Möller demuestra que sin mostrar nada, o más bien mostrando muy poco, con un policía, un teléfono y dos habitaciones, puede contar mucho más de lo que se dice en las llamadas telefónicas. Una clase magistral de suspenso.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/abaoKA6rn5k?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','The Guilty (2018)','','publish','open','open','','the-guilty-2018','','','2019-12-27 11:27:11','2019-12-27 14:27:11','',0,'',0,'post','',0),(790,2,'2019-01-01 17:16:23','2019-01-01 17:16:23','<h2 style=\"font-weight: bold;\">Preguntas inconclusas y monstruos invisibles.</h2>\nEn un mundo apocalíptico devastado por una fuerza maligna, la única regla para sobrevivir es no mirar. En busca de un refugio seguro, Malorie deberá huir río abajo con sus dos hijos, en un viaje casi imposible de hacerlo con los ojos vendados.\n\nEl último estreno viral de Netflix, Bird Box ha superado visualizaciones en su fin de semana de estreno. ¿Cómo? Gracias, una vez más, a la insistente campaña de marketing de la plataforma, ya que la película, cuya premisa prometía una travesía de supervivencia interesante, es una limitada exploración sobre los temas clásicos subyacentes de las películas del género como la resiliencia humana, el egoísmo, el miedo y la familia.\n\nPara no entrar en comparaciones, la trama se desarrolla en dos momentos. Por un lado, Malorie en el río con sus dos hijos, y por el otro, un relato acelerado de cómo ella logró mantenerse con vida durante el inicio de la epidemia de suicidios masivos. Estos flashbacks, lejos de contribuir a la construcción de nuestra protagonista, entorpecen la historia al dejar afuera quizás lo más interesante: ¿cómo logra una familia vivir a ciegas? Y si ahondamos al nivel del personaje, ¿cómo Malorie supera ese pánico que le genera la maternidad?\n\nLa fuerza maligna, que al parecer adopta la forma de aquello a lo que más uno le teme, es un ente omnipresente que se manifiesta al abrir los ojos. Pero este monstruo, por así llamarlo, más que provocar horror en quienes lo ven, es tan fastidioso como los humanos capaces de mirarlo y no morir, ya que mata porque si, sin razón ni justificación, como una metáfora a una fuerza espiritual inquebrantable.\n\nLos diálogos descriptivos son tan innecesarios como los suicidios explícitos y tan superfluos como la personalidad de los personajes secundarios (un desperdicio de semejante elenco) que pueden ser definidos en una sola línea, la embarazada que no quiere ser madre, la hermana que le gustan los caballos, el impertinente alcohólico , el escritor miedoso, entre otros que construyen una mescolanza incoherente de elementos sueltos unidos sin juicio. Ni hablar de Niño y Niña, que quedan puntualizados ahí, en el nombre de sus personajes. Entre el exagerado uso de tomas a través de las vendas de los personajes, Bird Box despierta muchas preguntas irritantes, desde por qué son pacientes del neuropsiquiátrico los inmunes al ente al cómo hacían para comer o deshacerse de los cuerpos, en un intento insatisfactorio de entretener.\n<div></div>','Bird Box (2018)','','publish','open','open','','bird-box-2018','','','2019-12-27 11:25:02','2019-12-27 14:25:02','',0,'',0,'post','',0),(791,2,'2018-12-26 16:46:52','2018-12-26 16:46:52','<h2 style=\"font-weight: bold;\">Un romance sin límites ni tiempo.</h2>\nEn las abandonadas ruinas de Polonia posterior a la Segunda Guerra Mundial y en medio de la Guerra Fría, Wiktor conoce a Zula. Él, un director de orquesta en la búsqueda de voces autóctonas para conformar un ensamble musical; ella, una joven de voz talentosa y carácter enérgico. A pesar de sus diferencias ideológicas y de las complicaciones políticas de la época, se enamoran perdidamente. Cold War es la historia de amor entre ambos, condenados a encuentros esporádicos y desencuentros corrosivos a lo largo de los años.\n\nDesde el primer encuentro hasta el último, en un relato que salta los años, Cold War seduce con sus dos personajes protagónicos, que sufren al estar separados pero que juntos ponen en realce sus diferencias e incompatibilidades. Los años pasan, el mundo cambia a sus espaldas, y ellos buscan la manera de encontrarse ya sea en un bar de París, en un teatro de Yugoslavia o en un baño de Polonia. La nostálgica fotografía en blanco y negro, y la inusual relación de aspecto 4:3 (que se aproxima más al formato cuadrado que al rectangular widescreen) comprime a los personajes con tanta fuerza como la imposibilidad de huir juntos a un lugar idílico no contaminado por la historia. Con insistencia, el director Pawel Pawlikowski sitúa a sus personajes en el tercio inferior del cuadro, casi al borde la pantalla, con la intención de delimitar una prisión visual que enfatiza el carácter de inferioridad de los amantes frente mundo. Los movimientos de cámara son tan sutiles y a la vez tan rígidos, que la cámara adquiere libertad únicamente cuando sus personajes lo hacen, ya sea en un encuentro inconsolable en un bar de jazz o al ritmo del rock sobre la mesa de una barra.\n\nA través de las décadas, la música conecta los encuentros de Wiktor y Zula, cargados de nostalgia y salpicados por nuevas ideas acerca del arte y la libertad. Zula canta Dos Corazones, una canción popular folklórica acerca de un amor imposible, que muta con el tiempo en una melodía de jazz compuesta por Wiktor y grabada en un estudio. Los años pasan y ellos también van cambiando, pero algo permanece, y es el trágico destino de sufrir por un amor desesperado que no conoce las fronteras ni el tiempo.','Cold War (2018)','','publish','open','open','','cold-war-2018','','','2019-12-27 11:22:04','2019-12-27 14:22:04','',0,'',0,'post','',0),(792,2,'2018-12-17 16:48:12','2018-12-17 16:48:12','<h2 style=\"font-weight: bold;\">La belleza de los recuerdos.</h2>\nSituada en México durante la década de los 70, Roma (2018) narra la vida de una empleada doméstica que trabaja para una familia de clase media en un barrio de la capital mexicana.\n\nDirigida por Alfonso Cuarón, Roma inicia con los créditos sobre el piso del garaje de la casa. Solo a través de los ruidos, escuchamos a alguien baldear el suelo, fregar con la escoba y escurrir el agua hacia la canaleta. En el reflejo del agua se proyecta la casa y más allá, ya por encima de las nubes, un avión cruza el cielo. Un avión tan imperceptible y tan perecedero como la vida misma de los personajes que van a palpitar en el relato.\n\nLa protagonista de la película es Cleo, una mujer que se ocupa de todos los quehaceres del hogar, desde despertar al hijo más pequeño hasta preparar el té de manzanilla del padre cuando él regresa bien entrada la noche. Cleo convive con la familia en un vago limbo entre familiar y empleada. Es que pasa tanto tiempo en la casa que a medida que los hijos crecen, ella también lo hace. Ella es testigo silenciosa a lo que sucede en el hogar, las disputas, las peleas y los abrazos. Es cómplice cuándo conviene para la madre, su empleadora, pero intrusa cuando sus intervenciones no son pertinentes o la posicionan en una postura vergonzosa. Ella es parte de la familia pero a la vez una foránea, una extraña que sabe mucho más de ellos que lo que ellos saben de ella.\n\nCada cuadro y cada escena posee una profundidad de campo que trasciende lo visual para propagarse al nivel de la historia. En primer lugar está Cleo, su mundo, su pequeña pieza compartida y su amante. Luego está ella en la familia, entre los labores domésticos y las canciones de cuna en mixteco. Por último, pero no menos importante, está el mundo afuera de la casa y la situación sociopolítica de México que completa el universo de Roma en un nivel de detalle tan palpable que nos vuelve a enamorar de la vida. Los escasos primeros planos son un regalo al deseo de acercarnos más a los personajes como un intento de aprehender un sueño.\n\nNuestra mirada es limitada y direccionada a través de sutiles movimientos de cámara que describen cada rincón del espacio y del momento. Somos testigos de caricias que se convierten en abrazos, de mentiras que se esfuman bajo las puertas cerradas y lágrimas contenidas que brotan cuando menos se las espera. El realismo detallado de la fotografía, de la mano del mismo Cuarón, se despoja de los colores para retratar una memoria que se despliega ante nuestros ojos como un recuerdo angustioso que perdura con regocijo.\n\nEn cuanto a la narración se refiere, cada escena, por más que parezca que no sucede mucho, resplandece con la belleza de lo cotidiano y esa observación minuciosa hacia los detalles que envuelven la rutina del día a día. El granizo, el fuego y el mar se convierten en elementos catalizadores de los momentos más álgidos de la trama y la profundidad de campo en recurso desgarrador para construir la aflicción de las escenas más dolorosas.\n\nRoma es un homenaje a Libo, la mujer que crió a Cuarón durante su infancia, pero también es sobre la memoria y los recuerdos, el amor y la falta de amor, la angustia y la pérdida. Roma es una veneración a la resiliencia humana que invita a reflexionar sobre aquellas personas invisibles en nuestras vidas, quienes tuvieron el poder especial de sostenerse en un pie con los ojos cerrados. La vida cotidiana nunca fue observada con tanta delicadeza ni sensibilidad.','Roma (2018)','','publish','open','open','','roma-2018','','','2019-12-27 11:19:37','2019-12-27 14:19:37','',0,'',0,'post','',0),(793,2,'2018-11-12 16:52:45','2018-11-12 16:52:45','<h2 style=\"font-weight: bold;\">La felicidad subordinada al título.</h2>\nAl cumplir 52 años, Manana anuncia a que irá a vivir a un departamento sola. La noticia sorprende a cada integrante de la familia con los cuales ha convivido 30 años; su esposo, sus hijos y sus padres no pueden comprender el motivo de su partida ni le toman en serio hasta que ella junta sus pertenencias en una valija y se marcha.\n\nManana se resiste a dar explicaciones pese a la presión sofocante que ejercen sus familiares en esperas a que vuelva, y, alejada de las discusiones, descubre los placeres de la vida solitaria y tranquila. Con profundo realismo, los directores georgianos Nana Ekvtimishvili y Simon Groß retratan una mujer que atraviesa por un proceso de reconstrucción dentro de un escenario sencillo y cotidiano, con una narrativa sensible cuyo peso recae sobre la brillante actuación protagónica de Ia Shugliashvili.\n\nLa puesta en escena de las disputas familiares, narradas con cruda honestidad pero sin caer en exageraciones, no solo justifican el anhelo de Manana pero ofrecen un retrato de una familia dependiente que sofoca con culpa y ama con necesidad, subyugada a los roles de género y expectativas de la sociedad.\n\nEl idioma puede resultar extraño a nuestros oídos, pero es innegable la universalidad del tema subyacente y la mirada crítica al mundo patriarcal donde la felicidad de una mujer puesta en prioridad es algo inconcebible, ni que decir su independencia.','My Happy Family (2017)','','publish','open','open','','my-happy-family-2017','','','2019-12-27 11:13:22','2019-12-27 14:13:22','',0,'',0,'post','',0),(794,2,'2018-11-03 14:51:08','2018-11-03 14:51:08','<h2 style=\"font-weight: bold;\">Nostálgicamente entretenida.</h2>\nProponerse la realización de una película biográfica sobre una de las mayores bandas de rock de todos los tiempos no es tarea fácil, y más aún cuando la banda retratada es Queen, inmortalizada por sus músicas que trascendían los géneros y rompían los límites de lo convencional. Bohemian Rhapsody de Brayn Singer es un resultado bastante entretenido que explora el proceso creativo de la banda y la frágil personalidad Freddie subyacente a su extravagante carácter.\n\nPodríamos poner bajo tela de juicio ciertas licencias narrativas tomadas, como por ejemplo el hecho de que en realidad Freddie fue diagnosticado con SIDA recién en 1987, dos años después del emblemático concierto benéfico Live Aid donde él dio su mejor actuación, pero el dramatismo que otorga este cambio en función a honrar su figura legendaria lo recibo con gusto y me sumerjo dentro del público en una secuencia de casi veinte minutos realizada con una destreza cinematográfica que eriza la piel.\n\nRescato la decisión de dejar afuera ciertos momentos de la vida de Freddie, como por ejemplo sus últimos días enfermo y moribundo, en función a glorificar aún más su legado como artista y persona. De la misma manera, estoy segura que muchos detalles o momentos de la carrera de la banda fueron dejados de lado pero la película no deja de ser entretenida de principio a fin por más que pretende abarcar una audiencia masiva. Es imposible no deleitarse con la personificación que realiza Rami Malek del majetuoso Freddi Mercury, que tambalea entre la vulnerabilidad y la aparente autoconfianza, así como pretender no vibrar con las canciones y salir de cine cargados de nostalgia.','Bohemian Rhapsody (2018)','','publish','open','open','','bohemian-rhapsody-2018','','','2019-12-27 11:10:09','2019-12-27 14:10:09','',0,'',0,'post','',0),(795,2,'2018-10-05 15:54:25','2018-10-05 15:54:25','<h2 style=\"font-weight: bold;\">Seduciendo con violencia y erotismo.</h2>\nSituada en Argentina en los años 70, El Ángel narra la historia de Carlitos Robledo Puch, un criminal y sociópata de particular belleza andrógina que con tan solo 20 años fue condenado a cadena perpetua por una larga lista de crímenes que le otorgaron el apodo de El Ángel de la Muerte.\n\nDurante los años 70, cuando los estudios de criminología establecían un enlace de correspondencia entre la apariencia física degenerada de un criminal y su personalidad desequilibrada, la sola presencia de Carlitos, con sus bucles dorados y labios carnosos, seducía y enamoraba con la misma facilidad que él apretaba gatillo del arma.\n\nCarlitos forma una pequeña banda de ladrones junto con su compañero de colegio Ramón y su familia, gracias a los cuales consigue acceso a armas de fuego y ejecutan atracos más complejos y arriesgados. La dupla Carlitos y Ramón cargada de erotismo y violencia seduce entre joyas y asesinatos a sangre fría, donde el antihéroe protagonista cautiva sin esfuerzo por encima de su personalidad narcisista y su moralidad construida en base a códigos propios.\n\nCon movimientos sensuales de cadera al ritmo de una acertada banda sonora, Carlitos se cuestiona al inicio el valor otorgado a la libertad, y juzga de locos a aquellos que no buscan vivir bajo sus propios impulsos. Luis Ortega no pretende contestar esta pregunta ni comprender los sucesos que quizás hayan alterado la vida de un chico nacido en el seno de una familia honesta y bastante típica, pero con una destreza visual poética narra los acontecimientos que desembocaron en los múltiples homicidios por el cual fue después condenado el Ángel.','El Ángel (2018)','','publish','open','open','','el-angel-2018','','','2019-12-27 11:06:21','2019-12-27 14:06:21','',0,'',0,'post','',0),(796,2,'2018-10-02 15:56:58','2018-10-02 15:56:58','<h2 style=\"font-weight: bold;\">Cuando la historia del arte cambia de protagonista.</h2>\nDirigido por Christian Schwochow, Paula narra la vida de la artista alemana Paula Modersohn-Becker, una de las precursoras del modernismo a principios del siglo XX. Incomprendida en su época, sus pinturas se asimilaban al estilo pictórico de Paul Cézanne, con diferencias en los temas de interés de Paula quien se enfocaba casi en su totalidad en retratar mujeres realizando labores cotidianos o al desnudo.\n\nCuando la historia del arte (y de la humanidad en general) tal como la conocemos hoy en día posee un punto de vista masculino, es maravilloso descubrir la vida de mujeres nacidas injustamente en un mundo patriarcal donde la lucha por vivir como artista se enfrentaba no solo a las estructuras y pre concepciones del arte clásico sino también a las exigencias esperadas de ella como mujer, y por consecuencia, su rol como madre y ama de casa devota a las tareas del hogar. Pero la ambición de Paula y sus deseos por pintar al menos tres buenos cuadros, tal como lo dice en la película, la condujeron en la búsqueda incansable de espacios alternativos donde potenciar su arte y la particular manera que tenía de mirar al mundo.\n\nPaula fue criticada una y otra vez por otros artistas hombres, quienes hasta incluso abarajaron la posibilidad de internarla en una institución psiquiátrica con el objetivo de rectificar lo que ellos consideraban desviaciones anormales en una mujer manifestadas en su carácter desenvuelto y en su afán por retratar desnudos. Paula Becker no solo fue una de las precursoras más precoces del expresionismo en Alemania, sino además fue la primera en realizar un autorretrato al desnudo.\n\nLa película es un retrato feminista de la artista, quien a pesar de ser el hazmerreír de las personas que le rodeaban y víctima de la era en la que le tocó vivir, siguió pintando buscando su libertad creativa como mujer y artista.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/2m69Yz1-Z60?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Paula (2016)','','publish','open','open','','paula-2016','','','2019-12-27 11:03:47','2019-12-27 14:03:47','',0,'',0,'post','',0),(797,2,'2018-09-20 15:59:44','2018-09-20 15:59:44','<h2 style=\"font-weight: bold;\">Construyendo suspenso sobre una premisa atípica.</h2>\nHan pasado muchos años desde que Byung-soo ha matado a alguien. Ahora, él es un asesino serial retirado que sufre de Alzheimer y vive con su hija Eun-hee, quien se encarga de rescatarle cuando él se desorienta o pierde en los bosques de bambú. Un día de regreso a su casa, Byung-soo choca contra un extraño y al encontrar sangre en el maletero trasero, sospecha que él también un asesino serial. Pero deberá luchar contra su memoria traicionera para salvar a su hija de este misterioso personaje. Ya desde un inicio, la premisa es cautivante.\n\nBasada en el libro de Kim Young-ha, Memoir of a Murderer construye el misterio a través del juego de persecución entre los dos asesinos. Desesperante, y con una utilización narrativa acertada de saltos en el tiempo, la historia es relatada a través de los recuerdos que va contando Byung-soo, y como espectadores víctimas de su foco, estamos supeditados a los lapsos de lucidez por el cual él atraviesa. La tensión es generada por el suspenso de saber más que nuestro protagonista y nuestro enemigo, y a sabiendas que en cualquier momento ambos se enfrentarán y las cosas saldrán bien, o mal para ellos.\n\nMe resulta curioso encontrar similitudes de ciertos estereotipos latentes en nuestro cine y el cine de Corea del Sur; uno de estos aspectos sin duda es la representación de la fuerza de la ley como inepta y por lo tanto los policías son siempre bufones torpes incapaces de resolver crímenes que ocurren frente a sus ojos.\n\nEs mucho menos sangrienta a lo que su título podría sugerir y la fotografía de la película ofrece un goce visual estético con las escenas Byung-soo en los bosques de bambú o con las escenas en la nieve complementados con una paleta oscura en concordancia con el tono. Sin lugar a dudas, Memoir of a Murderer de Shin-yeon Won se destaca entre las películas coreanas de crimen y misterio.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/QAGZ9srTHDM?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Memoir of a Murderer (2017)','','publish','open','open','','memoir-of-a-murderer-2017','','','2019-12-27 11:00:53','2019-12-27 14:00:53','',0,'',0,'post','',0),(798,2,'2018-06-04 23:35:05','2018-06-04 23:35:05','<h2 style=\"font-weight: bold;\">Cine que atraviesa el cuerpo.</h2>\nChela, hundida en la humillación de haber caído en la bancarrota, observa a través de la puerta entreabierta cómo señoras de clase alta compran sus copas, cubiertos, mesas, cuadros y objetos de alto valor, vestigios de la vida que alguna vez tuvo. Así empieza Las Herederas.\n\nChiquita, su pareja, sin preocuparse demasiado y protegiendo a Chela, lleva las finanzas del hogar y cuida de ella, concretando una venta aquí y otra allá. Cuando Chiquita va a la cárcel, Chela queda sola y perdida, es que nunca tuvo que manejarse sin Chiquita. Hasta que un día Pituca, su vecina, le pregunta si puede llevarle algún lado. Al cabo de un rato, Chela se convierte en chofer regular del séquito de Pituca, y es así como conoce a Angy, la hija de una de las señoras, quien avasalla a Chela con su sensualidad.\n\nLas Herederas es una obra extraordinaria, y la mirada sensible de Marcelo Martinessi se siente desde los primeros murmullos que escuchamos aún con la pantalla negra. Relatada con una sutileza y elegancia visual incomparable, la utilización del fuera de campo se convierte en un recurso narrativo poético y estético que indaga con mayor profundidad la complejidad de las relaciones de los personajes, como una lupa visual que dirige nuestra mirada hacia lo que vemos e incluso, hacia lo que no estamos viendo. ¿Por qué me mirás así?, le pregunta Chela a Chiquita. Sin embargo, no vemos la cara de Chiquita. De la misma manera, el trabajo sonoro enfatiza con ímpetu pequeños detalles como diciéndonos escuchá, escuchá como los pasos retumban en esta casa vacía. Y así proyectamos, imaginamos y construimos la historia.\n\nLa intimidad del relato está remarcada por el uso constante de planos cerrados, donde cada mirada adquiere una potencia que traspasa la imagen y queda impregnada en nosotros. El rostro de Chela es el reflejo al universo de emociones por los que ella va pasando; el miedo, la desesperación, el deseo, la vergüenza, el pudor, todo destella de la pantalla con los más mínimos gestos de la brillante actuación de Ana Brun. El simple movimiento de sus ojos es capaz de hacernos quebrar con ella, hasta cuando está de espaldas en la cama o con lentes de sol en el auto. El viento, pensado como un elemento catártico, es una demostración más de la genialidad del director.\n\nAlabo de pie las excelente actuaciones del reparto principal, Ana Brun, Margarita Irún y Ana Ivanova, cuyos personajes adquieren vida gracias a ellas, y hago además una especial mención a Pituca, quien con una singular mordacidad en sus diálogos entrega momentos cómicos al relato.\n\nMucho se ha hablado. Es que Las Herederas es un cine que vive más allá de la pantalla, y cuya fuerza intimida a quienes temen lo desconocido. Es una historia de amor, sí, pero es tan compleja que deja de ser solo sobre la relación entre dos mujeres mayores, sino ahonda en la intimidad, la soledad, el descubrimiento, la nostalgia y el desprendimiento. Es además, una introspección sobre el silencio y sus vacíos, las cosas que no decimos y las que ni siquiera comprendemos. Invito a que se despojen de sus prejuicios y vayan al cine, porque Las Herederas es una película que se siente, y que, como el viento, atraviesa el cuerpo.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/E7zELAeLObc?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Las Herederas (2018)','','publish','open','open','','las-herederas-2018','','','2019-12-27 10:58:46','2019-12-27 13:58:46','',0,'',0,'post','',0),(799,2,'2018-04-06 23:37:43','2018-04-06 23:37:43','<h2 style=\"font-weight: bold;\">Reconfortante y encantadora en su ingenuidad.</h2>\nSimon es un chico como cualquier otro, sólo que tiene un secreto: es gay y aún no se lo ha contado a nadie, ni a sus padres ni a sus amigos. Cuando otro chico de su colegio sale del clóset online bajo el seudónimo de “Blue”, Simon contacta con él (anónimamente también) y entablan una relación virtual. Hasta que Martin, otro chico del colegio, hace captura de los mails y utiliza eso para chantajear a Simon.\n\nImagínense si los adolescentes heterosexuales debían contar a sus padres sobre su heterosexualidad. En una secuencia cómica, Love, Simon ridiculiza el cuestionamiento que tiene Simon sobre aquel momento tan horrible en la vida de un adolescente LGBTQ. Con esto no pretender ser una película trasgresora, sino plantea la simple pregunta de por qué no existen películas de amor adolescente entre dos chicos.\n\nSi bien es cierto que en los últimos años salieron películas de temática LGBTQ alabadas por la crítica como Call me by your name o Moonlight, no puedo dejar de mencionar el hecho de que Love, Simon sea una comedia romántica de adolescentes de gran producción y alcance masivo, y cuyo protagonista gay rompe con el estereotipo del personaje secundario conocido como “el mejor amigo gay”, y pasa a ser nuestro héroe, algo inusual en el cine de los grandes estudios.\n\nEs naíf, sí, pero hay algo reconfortante en la ingenuidad de la historia y en la ligereza de la trama que te roba unas lágrimas con la misma facilidad que te saca unas carcajadas. El mensaje de tolerancia y aceptación es tan claro incluso para los padres, que puede llegar a ser una película terapéutica y para ver en familia.\n<div></div>\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/2OszNY0PpU4?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Love, Simon (2018)','','publish','open','open','','love-simon-2018','','','2019-12-27 10:57:03','2019-12-27 13:57:03','',0,'',0,'post','',0),(800,2,'2018-03-03 22:34:18','2018-03-03 22:34:18','<h2 style=\"font-weight: bold;\">Una historia de adolescentes sobre la homofobia, pero fastidiosa y superficial.</h2>\nCuando su madre entra a rehabilitación, Billy Bloom se muda a una secundaria ultra conservadora, donde decide postularse para ser reina del baile.\n\nSi bien las intenciones y el mensaje son apreciados, resulta un poco superficial al no ahondar ni siquiera en nuestro héroe protagonista, cuya búsqueda parece ser un mero capricho personal más que un intento por remendar sus relaciones familiares y personales. Es más, Billy nunca termina de convencer del todo porque debajo de sus fabulosos vestuarios parece no haber más que un chico egocéntrico que ni siquiera recuerda el nombre de la única chica que se acerca a él el primer día de clases.\n\nCapaz la realidad sea así en algunos colegios, pero me cuesta creer lo inverosímil de los personajes que rozan una fantasía, y el cliché empalagoso de otros. Desde la madre alcohólica, el sensible jugador de fútbol que quiere ser artista, la rival evangélica quien cita a Trump y hace coreos con rezos, son personajes aislados, salpicados en la trama y cuyas intervenciones y aportes son intranscendentales. Hasta cuando el padre de Billy reconoce a su hijo parece forzoso. Rescato el mensaje de aceptación a la diversidad, de aceptar quién uno es, pero solo espero que el mensaje no sea contaminado por lo insustancial de la película.\n<div></div>\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/drg74wOy8z8?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Freak Show (2017)','','publish','open','open','','freak-show-2017','','','2019-12-27 10:55:02','2019-12-27 13:55:02','',0,'',0,'post','',0),(801,2,'2018-03-03 22:31:56','2018-03-03 22:31:56','<h2 style=\"font-weight: bold;\">Una idea interesante, pero demasiada sangre y un final abrupto.</h2>\n¿Qué pasaría si un día nuestros padres despertasen con la idea de matarnos? La premisa de Mom and Dad es, a primera vista, interesante. Pero con el avance de la película, el chiste fundamentado sobre esa idea se agota y se vuelve repetitivo.\n\nUn “virus” raro, que en realidad nunca se entiende ni se explica, hace que los padres de la nada quieran asesinar a sus hijos. En medio de este apocalipsis, una adolescente y su hermano luchan por sobrevivir.\n\nEl cliché de los personajes es insufrible: la hija adolescente que solo quiere estar con el novio, el hijo menor que no hace más que molestar a la mayor, y el papá y la mamá en medio de una crisis marital. Si bien tiene elementos que agregan un toque de humor negro, como por ejemplo los abuelos que entran en escena o la hermana embarazada, al final termina siendo más gore que satírico. Rescato la ridiculez de la trama, los momentos que tuve que mirar a otro lado (sí, es muy gráfica) y las veces que me encogí de dolor con los ruidos de motosierra, pero el final es tan cortante que parece un taburete de dos patas. No esperes un esclarecimiento divino sobre la paternidad y si te gustan los niños, mejor abstenerse.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/jYro0n-bP_c?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Mom and Dad (2017)','','publish','open','open','','mom-and-dad-2017','','','2019-12-27 10:53:07','2019-12-27 13:53:07','',0,'',0,'post','',0),(802,2,'2018-03-03 22:29:10','2018-03-03 22:29:10','<h2 style=\"font-weight: bold;\">Por momentos entretenida, pero nada extraordinaria.</h2>\nNo te dejes engañar. La última de Ridley Scott sobre el secuestro de Paul Getty III, nieto del hombre más rico del mundo, Paul Getty, no es tanto sobre la búsqueda de Paul y las negociaciones con los secuestradores, sino más bien se enfoca en sobre cómo la madre de Paul hace lo imposible para conseguir que el avaro abuelo billionario pague el rescate.\n\nLarga, con escenas que sobran más que avanzar la trama, como las innecesarias explicaciones de Paul abuelo haciendo negocios o saltos redundantes en el tiempo que tratan de develar la relación del abuelo con el nieto secuestrado, All the Money in the World se pone un poco más interesante solo hacia el final, llegando al clímax en una persecución estilo juego a las escondidas en una pequeña villa italiana donde por fin el secuestro vuelve a ser la trama principal. Es entretenida, por momentos, y tiene un elenco interesante, salvo Mark Wahlberg que desentona tanto como la exagerada repetición de la frase “Sos un Getty”.\n\nNo esperaba tanto, pero lo que empezó queriendo ser un thriller, terminó siendo un drama familiar sobre las cosas que el dinero no puede comprar.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/cOba7w51pKk?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','All The Money in the World (2017)','','publish','open','open','','all-the-money-in-the-world-2017','','','2019-12-27 10:51:14','2019-12-27 13:51:14','',0,'',0,'post','',0),(803,2,'2018-03-03 22:25:38','2018-03-03 22:25:38','<h2 style=\"font-weight: bold;\">Insatisfactoria e inconclusa.</h2>\nHappy End (2017) de Michael Haneke, gira alrededor de una familia de clase alta que vive en una enorme mansión de Calais, los Laurents. George, el abuelo, ha perdido las ganas de vivir. Ana, la hija mayor, ahora a cargo de la empresa constructora familiar, está siendo investigada por un derrumbe en una de las obras. Tras la sobredosis de su ex mujer, Thomas, el otro hijo de George, debe ahora hacerse cargo de su hija Eve.\n\nRepitiendo recursos narrativos que, en mi parecer, parecen ser utilizados sin justificación aparente, como peleas desarrolladas a medio kilómetro de la mirada del espectador, o conversaciones inaudibles al otro lado de la calle, Haneke pretende sostener la intriga ocultando secretos entre los personajes y los chats en pantalla, pero cuando eso se va desvelando ya esa curiosidad inicial se transformó en puro aburrimiento. Hay una recurrencia de ciertos temas como la eutanasia, el voyerismo, la vigilancia tecnológica, la diferencia social, pero que son tratados con tal levedad que queda incierto hacia donde quiere llegar.\n\nAdemás de plantear quizás una cierta mirada fatalista al mundo moderno dependiente a las pantallas usando referencias de redes sociales como Facebook o Snapchat, la película no es más que un compilado de situaciones de una familia al borde de una crisis cuya catarsis nunca llega ya que la historia sigue como si nada, hasta un final inconcluso e insatisfactorio y (me atrevo a decir) bastante predecible.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/BfPvd3NiIsU?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Happy End (2017)','','publish','open','open','','happy-end-2017','','','2019-12-27 10:48:45','2019-12-27 13:48:45','',0,'',0,'post','',0),(804,2,'2018-03-03 22:23:26','2018-03-03 22:23:26','<h2 style=\"font-weight: bold;\">El amor embarrado de sangre, saliva y mugre.</h2>\nJohnny es un joven granjero en el medio de Inglaterra que desquita las frustraciones de llevar adelante la granja él solo bajo la mirada juzgadora de su padre y de su abuela, quienes viven regañándole a diario. Johnny desquita su rabia ahogándose en alcohol y en sexo casual con extraños, hasta que un día aparece Gheorghe, un extranjero, para ayudar con las ovejas.\n\nAl comienzo, es difícil explicar la hostilidad que siente Johnny hacia Gheorghe, no sabemos si es atracción, fobia o celos. Es un poco arduo además sentir empatía con el irritable Johnny. Sin embargo, con el paso de los días en el campo, esa agresividad se va transformando en atracción hasta que la recompensa es una salvaje y bruta historia de amor, y sobre cómo bajar la guardia y volver a contemplar la belleza en aquellos lugares donde vimos muerte y vacío.\n\nCon un cuidado particular hacia los detalles, en espacial hacia las manos de los personajes, el director nos mete en un universo de mugre, saliva, sangre y barro. Las mismas manos ensangrentadas de Gheorghe que reviven un cordero son las que después recorren el cuerpo de Johnny en un arrebato de excitación. Que las (quizás) crudas imágenes y el frío paisaje campestre no te dejen disfrutar de este relato amargo pero esperanzador.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/OyWievSHxhI?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','God’s Own Country (2017)','','publish','open','open','','god-s-own-country-2017','','','2019-12-27 10:23:23','2019-12-27 13:23:23','',0,'',0,'post','',0),(805,2,'2018-03-03 22:15:04','2018-03-03 22:15:04','<h2 style=\"font-weight: bold;\">Paisajes oníricos y osos asesinos, una mezcla que al final resulta insípida.</h2>\nLa película inicia con Lena, de blanco y en cuarentena, siendo interrogada por un científico. No tenemos idea de qué sucedió ni cómo y a través del relato de Lena, nos embarcamos en la expedición dentro del Área X. Queremos saber cómo fue que ella formó parte de esa misión, qué pasó con el resto de su equipo y por qué ella está viva. Pero las respuestas que nos ofrece la película resultan, para mí, insatisfactorias y predecibles.\n\nCon un diálogo expositivo y explicativo demás, por ejemplo a los 5 minutos de haber empezado la película, un colega de Lena dice a ella “..que estés de duelo, no significa que no puedas divertirte un poco..”, Annihilation no es más que una mezcla de paisajes bonitos y momentos espeluznantes.\n\nLa gradual muerte de cada uno de los personajes resulta tan fortuita como el motivo por el cual ellas están ahí, a pesar de habernos contado a través de un diálogo forzoso la motivación de cada una de ellas. Hasta la justificación de la conformación del equipo está lanzada en una línea de diálogo que intenta explicar la casualidad de la misión.\n\nA diferencia con Ex Machina, cuya intriga mantiene la tensión hasta un final climático, Annihilation va perdiendo el sentido buscando explicar lo inexplicable. Tal como Lena responde en la primera escena de la película “No sé”, sacando afuera los maravillosos paisajes y criaturas mutantes, no sé a donde íbamos. Muchos planteamientos iniciales, como el desfasaje del tiempo, la percepción de los recuerdos, las alteraciones genéticas y el cáncer quedan olvidados al punto que esa sensación de fascinación y ansiedad que vamos haciendo con los personajes va perdiendo el rumbo.\n<div></div>','Annihilation (2018)','','publish','open','open','','annihilation-2018','','','2019-12-27 10:21:23','2019-12-27 13:21:23','',0,'',0,'post','',0),(806,2,'2018-03-03 21:50:40','2018-03-03 21:50:40','<h2 style=\"font-weight: bold;\">Extravagante y divertida, una mezcla peculiar en el género de comedias románticas.</h2>\nInicio mi viaje a través del cine islandés con este maravilloso descubrimiento, L’effet aquatique, escrita y dirigida por Sólveig Anspach. Cuando Samir, un operador de grúa, ve a Agathe, una instructora de natación, despachar a un pretendiente en un café, se queda completamente hipnotizado. Enamorado y determinado, Samir finge no saber nadar y se anota a las clases de natación en la pileta municipal donde enseña Agathe. Equipado con una malla naranja, gorrito prestado y anteojos gigantes, los ojos de Samir brillan como un niño durante las clases de natación con la chica de sus sueños.\n\nCon un diálogo atrevido y perspicaz, esta comedia romántica me sacó varias sonrisas y risas sin caer en forzosos clichés. Es que la peculiaridad con la que están caracterizados los personajes, sumado a escenarios insólitos como el congreso de instructores de natación en Islandia convierten a esta comedia “screwball” (donde el personaje mete la pata una y otra vez) en una película extravagante y divertida. La encantadora torpeza de Samir con su largo cuerpo y rostro de perro triste, y la irritable e impaciente Agathe, mantienen viva la pantalla con la singular química que tienen entre ambos, a pesar de la historia que va perdiendo su frescura a medida que avanza. De seguro, estaré viendo las demás películas de Sólveig, quien falleció hace un par de años.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/VI72mDmfTtY?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','L\'effet aquatique (2016)','','publish','open','open','','l-effet-aquatique-2016','','','2019-12-27 10:19:12','2019-12-27 13:19:12','',0,'',0,'post','',0),(807,2,'2018-03-03 21:47:58','2018-03-03 21:47:58','<h2 style=\"font-weight: bold;\">Más violencia, menos sentido.</h2>\nCuando los carteles comienzan a traficar terroristas a través de la frontera con Estados Unidos, el agente federal Matt Graver reúne un equipo en conjunto con Alejandro, un hombre de dudoso pasado, para secuestrar a la hija de uno de los líderes del narcotráfico esperando generar así una guerra autodestructiva entre los carteles mismos.\n\nA diferencia de Sicario (2015), cuyo conflicto se centraba en los horrores que vivía la agente federal Kate y la postura de la misma agencia para combatir la guerra del narcotráfico en la frontera, Sicario: Day of the Soldado gira menos en torno a los personajes para centrarse más en la acción y en los enfrentamientos armados entre los bandos. La dirección de Denis Villeneuve en colaboración con el talentoso ojo de Roger Deakins en la fotografía y el personaje protagónico de Emily Blunt fueron pilares claves en la anterior entrega y cuya ausencia no pasa desapercibida en esta película que se limita a mostrar un mundo de machos alfas que actúan sin una pizca de moralidad y tal como lo anuncia Graver, “sin reglas esta vez”.\n\nSicario: Day of the Soldado parece justificar con extrañeza la violencia extrema como única posible solución al conflicto migratorio latente en la frontera con México, sin importar el precio. Utiliza elementos como una explosión en un supermercado, el ISIS y México siendo aliados para argumentar ataques aéreos con drones y matanzas a plena luz del día.\n\nAdemás de ofrecer una mirada cínica hacia problemáticas bien actuales, la historia es tan monótona como la banda sonora, dejando nada a la sorpresa con una trama que pierde sentido alguno.\n\n<iframe src=\"https://www.youtube.com/embed/5Nf-rrSLroQ?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Sicario: Day of the Soldado (2018)','','publish','open','open','','sicario-day-of-the-soldado-2018','','','2019-12-27 10:16:52','2019-12-27 13:16:52','',0,'',0,'post','',0),(808,2,'2018-03-02 22:11:45','2018-03-02 22:11:45','<h2 style=\"font-weight: bold;\">La frialdad del \"no amor\".</h2>\nLoveless o Sin amor nos presenta a Zhenya y a Boris, una pareja de clase media enredados en una separación intensa, como el epílogo de una relación que ya comenzó de manera tóxica. Es que los dos guardan un resentimiento profundo hacia el otro y, me atrevo a decir, odio hacia su hijo Alyosha, quien es el único factor aparente por resolver para concretar su definitivo divorcio. Ni Boris ni Zhenya quieren quedarse con el hijo y al día siguiente de haber escuchado esta intensa discusión, Alyosha desaparece.\n\nLo más duro parece ser que ninguno de los padres de Alyosha, ambos en cama pasando una noche íntima con sus nuevas parejas, se ha percatado de su desaparición. Desaparición sería un cumplido, es que ambos están ausentes en la miserable existencia del niño. Llega un momento en medio de las escenas altamente eróticas donde uno se empieza a cuestionar donde está Alyosha.\n\nA partir de aquí la película, tal como el crudo clima de invierno, se va enfriando cada vez más. Ante la ineptitud de la policía, y la burocracia del sistema, con la ayuda de un equipo voluntario especializado inicia la horrorosa búsqueda.\n\nNo es una película fácil de ver. Narrada con una lentitud agobiante, con cada segundo que pasa, se siente más difícil respirar a la espera siempre de un momento catártico de susto, la clásica recompensa a las películas de suspenso. Pero esto no se da y resulta en una angustia aún peor.\n\nEl título no podría ser más acertado. Loveless es una película sobre el oscuro “no amor” que siente una pareja, un padre, una madre, una hija, dentro de una sociedad pintada de frío y de gris.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/DaVyj_r3m-M?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Loveless (2017)','','publish','open','open','','loveless-2017','','','2019-12-27 10:14:44','2019-12-27 13:14:44','',0,'',0,'post','',0),(809,2,'2018-03-02 21:47:22','2018-03-02 21:47:22','<h2 style=\"font-weight: bold;\">Una claustrofóbica y tenebrosa historia de amor tóxico.</h2>\nAmbientada en Londres en los años ’50, Phantom Thread (2018) narra la historia de amor entre el obsesivo diseñador de vestidos Reynolds Woodcock, y Alma, una joven de espíritu fuerte capaz de llegar a extremos por las minúsculas migajas de afecto y cariño que puede darle Reynolds. Pero esta historia no es sobre una mujer que se desangra por un hombre, tampoco es la historia de la genialidad incomprendida del diseñador, ni tampoco sobre el tremendo complejo de Edipo que pinta a Reynolds como un niño malcriado. Para mí es la historia de dos personas, de caracteres opuestos que sin embargo son lo que cada uno buscaba y quiere. El mismo Reynolds admite ante Alma que es la mujer que ha estado buscando por mucho tiempo. Alma confiesa que Reynolds cumplió todos sus deseos. Y la película cuenta cómo ambos encuentran la manera de convivir a pesar de sus diferencias.\n\nNarrada con la misma minuciosidad y perfección que caracteriza al personaje de Daniel Day Lewis, con algo tan sencillo como un desayuno, una mirada, un gesto, el ruido de un pan tostado siendo untado con mermelada, Paul Thomas Anderson te mantiene bajo constante tensión como si estuviésemos esperando siempre lo peor. Los tintes cómicos en los diálogos es solo una muestra más de la genialidad del director/guionista.\n\n<iframe src=\"https://www.youtube.com/embed/qZhf_QWdHDM?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Phantom Thread (2017)','','publish','open','open','','phantom-thread-2017','','','2019-12-27 10:12:19','2019-12-27 13:12:19','',0,'',0,'post','',0),(810,2,'2018-02-03 21:47:02','2018-02-03 21:47:02','<h2 style=\"font-weight: bold;\">Los efectos de la soledad.</h2>\nA tan solo dos semanas de terminar su contrato de 3 años con la compañía Lunar, Sam Bell, un astronauta encargado de extraer gas lunar en esperas a revertir la crisis energética de la Tierra, comienza a ver y escuchar cosas extrañas. Es que la ansiedad por volver junto a su esposa e hija se ha vuelto insufrible para él. Encima la única compañía que tiene es el robot Gerty, que con un visor tipo HAL (de 2001: A Space Odyssey) y una pantalla con emojis según el humor, parece estar tramando algo, siempre demasiado pendiente de lo que haga Sam y cómo este se siente. Al sufrir un accidente durante una rutina de extracción, Sam sospecha sobre su regreso y sobre su propósito para la compañía.\n\nSin muchos recursos visuales digitales, un solo escenario y poquísimos personajes, Moon es una combinación interesante entre thriller psicológico y ciencia ficción que reflexiona sobre el tiempo y la soledad como una etapa de redención y cambio, pero también como posible detonante de la locura. En ciertos instantes, es Sam el que se ha vuelto loco, por otros es Gerty el que ha cobrado conciencia y vida propia más allá de su código de programación y quiere asesinar a Sam. Me hizo recordar por momentos a The Shining (1980), aunque con la gran diferencia de que Moon escala en tensión hasta cierto punto y luego parece caer en obviedades y pierde la intriga tan bien construida a lo largo de la mitad de la película. Al revelarse los secretos, aquellos aspectos mucho más interesantes como la rutina de Sam corroída por el aislamiento pasan al olvido.\n\n<iframe src=\"https://www.youtube.com/embed/WWoDBcSW4_c?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Moon (2009)','','publish','open','open','','moon-2009','','','2019-12-27 10:10:08','2019-12-27 13:10:08','',0,'',0,'post','',0),(811,2,'2019-12-25 01:21:19','2019-12-25 01:21:19','<!-- wp:heading -->\n<h2>Servicios ofrecidos</h2>\n<!-- /wp:heading -->\n\n<h3>Escritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-965\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-01-150x150.png\" alt=\"\" width=\"150\" height=\"150\" />Escritura de guiones de cortometrajes, mediometrajes y largometrajes de ficción a ser producidos por otro director/a. Desarrollo y escritura de contenidos diversos como series web, guiones publicitarios o spots televisivos.</p>\n<h3> </h3>\n<h3>Coescritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-966\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-03-150x150.png\" alt=\"Servicio de coescritura\" width=\"150\" height=\"150\" />Cooescritura en conjunto con otro director/a o guionista. Cooescritura en base a una idea original o historia original de otro guionista, director/a o productor/a. Escritura de guión en base a una sinopsis ya previamente definida por otro director/a, productor/a o guionista. Asesoría de guiones de cortometrajes, mediometrajes y largometrajes de ficción en etapas de desarrollo, preproducción o producción. Consultoría sobre materiales ya filmados en etapas de post producción.</p>\n<h3>Asesoría de proyectos</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-967\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-04-150x150.png\" alt=\"Servicio de asesoria\" width=\"150\" height=\"150\" />Asesoría de proyectos de escritura desde la idea al guión final. Servicio de Script Doctor con sesiones de lectura y análisis escena por escena.</p>\n<p> </p>\n<p> </p>\n<p> </p>\n<p>[contact-form-7 id=\"5\" title=\"Contact Us\"]</p>','Guiones','','publish','closed','open','','guiones','','','2019-12-28 16:37:35','2019-12-28 19:37:35','',0,'',0,'page','',0),(930,2,'2019-12-26 10:27:20','2019-12-26 13:27:20','<h1>SERVICIOS OFRECIDOS</h1>\n<h2>Escritura de guiones</h2>\nEscritura de guiones de cortometrajes, mediometrajes y largometrajes de ficción a ser producidos por otro director/a. Desarrollo y escritura de contenidos diversos como series web, guiones publicitarios o spots televisivos.\n<h2>Coescritura de guiones</h2>\nCooescritura en conjunto con otro director/a o guionista. Cooescritura en base a una idea original o historia original de otro guionista, director/a o productor/a. Escritura de guión en base a una sinopsis ya previamente definida por otro director/a, productor/a o guionista. Asesoría de guiones de cortometrajes, mediometrajes y largometrajes de ficción en etapas de desarrollo, preproducción o producción. Consultoría sobre materiales ya filmados en etapas de post producción.\n<h2>Asesoría de proyectos</h2>\nAsesoría de proyectos de escritura desde la idea al guión final. Servicio de Script Doctor con sesiones de lectura y análisis escena por escena.','Escribimos guiones','','inherit','closed','closed','','811-revision-v1','','','2019-12-26 10:27:20','2019-12-26 13:27:20','',811,'http://lapistoladechejov.com/2019/12/26/811-revision-v1/',0,'revision','',0),(812,2,'2019-12-25 01:21:19','2019-12-25 01:21:19','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1351\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/10/im-thinkin-1-150x150.jpeg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, octubre). Recuerdos permeables. El espectador Imaginario, (116). <a href=\"http://www.elespectadorimaginario.com/estoy-pensando-en-dejarlo/\">http://www.elespectadorimaginario.com/estoy-pensando-en-dejarlo/ </a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1353\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/10/technoboss-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, octubre). Bailando entre paisajes pintados y escenografías de papel. El espectador Imaginario, (116). <a href=\"_wp_link_placeholder\" data-wplink-edit=\"true\">http://www.elespectadorimaginario.com/technoboss/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1329\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/09/da-five-bloods-150x150.jpg\" alt=\"da five bloods\" width=\"150\" height=\"150\" />Vazquez, A. (2020, septiembre). Violencia sobre sutileza. El espectador Imaginario, (115). <a href=\"http://www.elespectadorimaginario.com/da-5-bloods-hermanos-de-armas/\">http://www.elespectadorimaginario.com/da-5-bloods-hermanos-de-armas/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1330\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/09/first-cow-150x150.jpg\" alt=\"first cow\" width=\"150\" height=\"150\" />Vazquez, A. (2020, septiembre). Riquezas disonantes. El espectador Imaginario, (115). <a href=\"http://www.elespectadorimaginario.com/first-cow/\">http://www.elespectadorimaginario.com/first-cow/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1285\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/la-protagonista-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Sobre torpezas e incomodidades. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/la-protagonista/\">http://www.elespectadorimaginario.com/la-protagonista/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1283\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/a-russian-youth-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Entre bombas y platillos. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/a-russian-youth/\">http://www.elespectadorimaginario.com/a-russian-youth/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1287\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/the-wind-will-carry-us-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, julio). Un cálido sentimiento de existencia. El espectador Imaginario, (114). <a href=\"http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/\">http://www.elespectadorimaginario.com/un-calido-sentimiento-de-existencia/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1284\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/beapole-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Heridas descosidas. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/una-gran-mujer/\">http://www.elespectadorimaginario.com/una-gran-mujer/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1286\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/07/never-rarely-sometimes-always-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, junio). Ojalá que nunca. El espectador Imaginario, (113). <a href=\"http://www.elespectadorimaginario.com/never-rarely-sometimes-always/\">http://www.elespectadorimaginario.com/never-rarely-sometimes-always/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1242\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/los-sonambulos-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Adormecidos bajo el calor veraniego. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/los-sonambulos/\">http://www.elespectadorimaginario.com/los-sonambulos/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1240\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/el-silencio-150x150.jpeg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Memoria y libertad. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/memoria-y-libertad/\">http://www.elespectadorimaginario.com/memoria-y-libertad/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1241\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/06/i-was-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, mayo). Los vacíos del pero. El espectador Imaginario, (112). <a href=\"http://www.elespectadorimaginario.com/estaba-en-casa-pero/\">http://www.elespectadorimaginario.com/estaba-en-casa-pero/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1093\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/01/Bacurau-3-150x150.jpg\" alt=\"Bacurau\" width=\"150\" height=\"150\" /></p>\n<p>Vazquez, A. (2020, abril). Más brutal que la fantasía. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/bacurau/\">http://www.elespectadorimaginario.com/bacurau/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1175\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/first-love-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Amor en tiempos de mafia. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/first-love/\">http://www.elespectadorimaginario.com/first-love/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1176\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/hamaca-paraguay-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Resistiendo al tiempo. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/resistiendo-al-tiempo/\">http://www.elespectadorimaginario.com/resistiendo-al-tiempo/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1177\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/serge-daney-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, abril). Serge Daney y la Cahiers. El espectador Imaginario, (111). <a href=\"http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/\">http://www.elespectadorimaginario.com/serge-daney-y-la-cahiers/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1178\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/el-lago-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). Elegante violencia al estilo neo-noir. El espectador Imaginario, (110). <a href=\"http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/\">http://www.elespectadorimaginario.com/el-lago-del-ganso-salvaje/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1179\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/04/vida-oculta-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, marzo). El precio del martirio. El espectador Imaginario, (110). <a href=\"https://www.elespectadorimaginario.com/vida-oculta/\">https://www.elespectadorimaginario.com/vida-oculta/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft wp-image-1106 size-thumbnail\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/atlantique-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Sal, sudor y polvo. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/atlantique/\">http://www.elespectadorimaginario.com/atlantique/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1105\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/jojo-rabbit-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Humor irreverente y ternura ingenua. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/jojo-rabbit/\">http://www.elespectadorimaginario.com/jojo-rabbit/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-1104\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/02/la-odisea-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" />Vazquez, A. (2020, febrero). Cuando el perdedor se cansa. El espectador Imaginario, (109). <a href=\"http://www.elespectadorimaginario.com/la-odisea-de-los-giles/\">http://www.elespectadorimaginario.com/la-odisea-de-los-giles/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','publish','open','open','','publicaciones','','','2020-10-13 15:32:05','2020-10-13 18:32:05','',0,'',0,'page','',0),(939,2,'2019-12-26 10:47:14','2019-12-26 13:47:14','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p>El espectador imaginario</p></blockquote>\n<!-- /wp:quote -->\n\n<!-- wp:paragraph -->\n<p>Revista de cine y crítica. </p>\n<!-- /wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2019-12-26 10:47:14','2019-12-26 13:47:14','',812,'http://lapistoladechejov.com/2019/12/26/812-revision-v1/',0,'revision','',0),(944,2,'2019-12-26 17:16:19','2019-12-26 20:16:19','Retrato de una mujer en llamas','retrato_de_una_mujer_en_llamas','','inherit','open','closed','','retrato_de_una_mujer_en_llamas','','','2019-12-26 17:16:38','2019-12-26 20:16:38','',942,'http://lapistoladechejov.com/wp-content/uploads/2019/12/retrato_de_una_mujer_en_llamas.jpg',0,'attachment','image/jpeg',0),(946,2,'2019-12-26 17:19:22','2019-12-26 20:19:22','<h2>La memoria de los trazos.</h2>\nEn algún lugar de Francia a finales del siglo XVIII, Marianne arriba a una casa cerca de la costa para pintar el retrato de Héloïse, una mujer que se resiste a ser retratada. La belleza de la pintura será determinante en su futuro; si es del agrado del posible marido, él accederá al matrimonio. Y he aquí la oposición de esta mujer privada de libertad, que fue retirada del convento sólo para ser ofertada por su madre a un pretendiente de Milán. Para ella, el cuadro es una sentencia que definirá una vida sobre la cual ella no tiene poder alguno de decisión. Atribuyamos por de pronto la desgracia de las situaciones al contexto histórico, porque aquí ninguna de las mujeres están exentas del dominio masculino, sea en el ámbito artístico o cotidiano. Lo cierto es que la hazaña a la que se enfrenta la pintora se complica aún más, porque para enmascarar la verdadera razón de su presencia en la casa, deberá fingir ser una acompañante de día y pintar el retrato de noche, a escondidas y con el recuerdo como único aliado.\n\nTras una carrera frenética hacia el precipicio costero, Marianne ve el rostro descubierto de Héloïse por primera vez, quien revela sus ganas imperiosas de sentir bajo la pesadumbre de su condena. Y, desde este primer enfrentamiento sublime, con las olas rompiendo con fuerza sobre las piedras del acantilado, despierta en ella una fascinación por su imagen, un rostro que ella absorbe y asimila en sus paseos por la playa. Las facciones de Héloïse se impregnan en la memoria de Marianne, y ella, a la luz de las velas replica cada gesto, cada mirada, cada postura, como pequeños fragmentos que conforman las piezas que moldean un enigma irresoluto. El piso, cubierto de bocetos de detalles de las manos, de la nuca, o del labio de Héloïse son destellos de instantes capturados en papel de lo cual Marianne se aferra para trazar las primeras tímidas pinceladas sobre el lienzo en blanco.\n\nEn este mirar constante aflora el deseo, y en la pulsión del deseo brota una profunda pasión que se aviva con el transcurso de los días, porque el mirar implica un intercambio de miradas, un ser mirado y un devolver la mirada, razón por la cual el foco de la fotografía recae sobre los gestos, las cejas levantadas y los suspiros por la boca que evidencian la incomodidad de la contemplación y la eventual complicidad de la observación curiosa, pero desconfiada por el inevitable sufrimiento que se avecina.\n\nCéline Sciamma ilustra con profunda sensibilidad una historia de amor imposible donde el olvido se combate con imágenes, porque para sus personajes las imágenes son las únicas que puedan perdurar en el tiempo y trascender las limitaciones de la época. Así como las fotografías son amuletos colmados de recuerdos de personas y de momentos, en Retrato de una mujer en llamas (2019), los dibujos de Marianne anhelan perdurar aquel espacio y momento idílico donde ambas conocieron el amor. El retrato de Héloïse se convierte en el punto final, y de hecho, nunca dejó de serlo, pero tras haberse conocido, el lienzo mismo es testigo del enamoramiento, y un objeto que de alguna manera ellas crean en complicidad. Dolores menstruales y un embarazo no deseado son también subtramas que enriquecen la visión que tiene Sciamma sobre el cuerpo femenino, la de sexualidad y el deseo.\n\nLo desgarrador del relato, cuya puesta en escena transita la intimidad a la luz de las velas, y el acecho del dolor en los paisajes eminentes, es el carácter atemporal de la historial; ya a más de dos siglos después y en especial aquí, la sociedad patriarcal aún rechaza cualquier manifestación de amor fuera del orden heteronormativo perpetuado y sostenido. Quizás algún día la tragedia sea una mera fábula y existan finales fuera de la pantalla que nos devuelva la mirada.\n\nVer trailer:\n\nhttpv://youtu.be/R-fQPTwma9o','Retrato de una mujer en llamas (2019)','','inherit','closed','closed','','942-revision-v1','','','2019-12-26 17:19:22','2019-12-26 20:19:22','',942,'http://lapistoladechejov.com/2019/12/26/942-revision-v1/',0,'revision','',0),(945,2,'2019-12-26 17:18:25','2019-12-26 20:18:25','<h2>La memoria de los trazos.</h2>\nEn algún lugar de Francia a finales del siglo XVIII, Marianne arriba a una casa cerca de la costa para pintar el retrato de Héloïse, una mujer que se resiste a ser retratada. La belleza de la pintura será determinante en su futuro; si es del agrado del posible marido, él accederá al matrimonio. Y he aquí la oposición de esta mujer privada de libertad, que fue retirada del convento sólo para ser ofertada por su madre a un pretendiente de Milán. Para ella, el cuadro es una sentencia que definirá una vida sobre la cual ella no tiene poder alguno de decisión. Atribuyamos por de pronto la desgracia de las situaciones al contexto histórico, porque aquí ninguna de las mujeres están exentas del dominio masculino, sea en el ámbito artístico o cotidiano. Lo cierto es que la hazaña a la que se enfrenta la pintora se complica aún más, porque para enmascarar la verdadera razón de su presencia en la casa, deberá fingir ser una acompañante de día y pintar el retrato de noche, a escondidas y con el recuerdo como único aliado.\n\nTras una carrera frenética hacia el precipicio costero, Marianne ve el rostro descubierto de Héloïse por primera vez, quien revela sus ganas imperiosas de sentir bajo la pesadumbre de su condena. Y, desde este primer enfrentamiento sublime, con las olas rompiendo con fuerza sobre las piedras del acantilado, despierta en ella una fascinación por su imagen, un rostro que ella absorbe y asimila en sus paseos por la playa. Las facciones de Héloïse se impregnan en la memoria de Marianne, y ella, a la luz de las velas replica cada gesto, cada mirada, cada postura, como pequeños fragmentos que conforman las piezas que moldean un enigma irresoluto. El piso, cubierto de bocetos de detalles de las manos, de la nuca, o del labio de Héloïse son destellos de instantes capturados en papel de lo cual Marianne se aferra para trazar las primeras tímidas pinceladas sobre el lienzo en blanco.\n\nEn este mirar constante aflora el deseo, y en la pulsión del deseo brota una profunda pasión que se aviva con el transcurso de los días, porque el mirar implica un intercambio de miradas, un ser mirado y un devolver la mirada, razón por la cual el foco de la fotografía recae sobre los gestos, las cejas levantadas y los suspiros por la boca que evidencian la incomodidad de la contemplación y la eventual complicidad de la observación curiosa, pero desconfiada por el inevitable sufrimiento que se avecina.\n\nCéline Sciamma ilustra con profunda sensibilidad una historia de amor imposible donde el olvido se combate con imágenes, porque para sus personajes las imágenes son las únicas que puedan perdurar en el tiempo y trascender las limitaciones de la época. Así como las fotografías son amuletos colmados de recuerdos de personas y de momentos, en Retrato de una mujer en llamas (2019), los dibujos de Marianne anhelan perdurar aquel espacio y momento idílico donde ambas conocieron el amor. El retrato de Héloïse se convierte en el punto final, y de hecho, nunca dejó de serlo, pero tras haberse conocido, el lienzo mismo es testigo del enamoramiento, y un objeto que de alguna manera ellas crean en complicidad. Dolores menstruales y un embarazo no deseado son también subtramas que enriquecen la visión que tiene Sciamma sobre el cuerpo femenino, la de sexualidad y el deseo.\n\nLo desgarrador del relato, cuya puesta en escena transita la intimidad a la luz de las velas, y el acecho del dolor en los paisajes eminentes, es el carácter atemporal de la historial; ya a más de dos siglos después y en especial aquí, la sociedad patriarcal aún rechaza cualquier manifestación de amor fuera del orden heteronormativo perpetuado y sostenido. Quizás algún día la tragedia sea una mera fábula y existan finales fuera de la pantalla que nos devuelva la mirada.\n\nVer trailer\n\n<a href=\"https://www.youtube.com/watch?v=R-fQPTwma9o\">https://www.youtube.com/watch?v=R-fQPTwma9o</a>','Retrato de una mujer en llamas (2019)','','inherit','closed','closed','','942-revision-v1','','','2019-12-26 17:18:25','2019-12-26 20:18:25','',942,'http://lapistoladechejov.com/2019/12/26/942-revision-v1/',0,'revision','',0),(947,2,'2019-12-26 17:20:32','2019-12-26 20:20:32','<h2>La memoria de los trazos.</h2>\n<p>En algún lugar de Francia a finales del siglo XVIII, Marianne arriba a una casa cerca de la costa para pintar el retrato de Héloïse, una mujer que se resiste a ser retratada. La belleza de la pintura será determinante en su futuro; si es del agrado del posible marido, él accederá al matrimonio. Y he aquí la oposición de esta mujer privada de libertad, que fue retirada del convento sólo para ser ofertada por su madre a un pretendiente de Milán. Para ella, el cuadro es una sentencia que definirá una vida sobre la cual ella no tiene poder alguno de decisión. Atribuyamos por de pronto la desgracia de las situaciones al contexto histórico, porque aquí ninguna de las mujeres están exentas del dominio masculino, sea en el ámbito artístico o cotidiano. Lo cierto es que la hazaña a la que se enfrenta la pintora se complica aún más, porque para enmascarar la verdadera razón de su presencia en la casa, deberá fingir ser una acompañante de día y pintar el retrato de noche, a escondidas y con el recuerdo como único aliado.</p>\n<p>Tras una carrera frenética hacia el precipicio costero, Marianne ve el rostro descubierto de Héloïse por primera vez, quien revela sus ganas imperiosas de sentir bajo la pesadumbre de su condena. Y, desde este primer enfrentamiento sublime, con las olas rompiendo con fuerza sobre las piedras del acantilado, despierta en ella una fascinación por su imagen, un rostro que ella absorbe y asimila en sus paseos por la playa. Las facciones de Héloïse se impregnan en la memoria de Marianne, y ella, a la luz de las velas replica cada gesto, cada mirada, cada postura, como pequeños fragmentos que conforman las piezas que moldean un enigma irresoluto. El piso, cubierto de bocetos de detalles de las manos, de la nuca, o del labio de Héloïse son destellos de instantes capturados en papel de lo cual Marianne se aferra para trazar las primeras tímidas pinceladas sobre el lienzo en blanco.</p>\n<p>En este mirar constante aflora el deseo, y en la pulsión del deseo brota una profunda pasión que se aviva con el transcurso de los días, porque el mirar implica un intercambio de miradas, un ser mirado y un devolver la mirada, razón por la cual el foco de la fotografía recae sobre los gestos, las cejas levantadas y los suspiros por la boca que evidencian la incomodidad de la contemplación y la eventual complicidad de la observación curiosa, pero desconfiada por el inevitable sufrimiento que se avecina.</p>\n<p>Céline Sciamma ilustra con profunda sensibilidad una historia de amor imposible donde el olvido se combate con imágenes, porque para sus personajes las imágenes son las únicas que puedan perdurar en el tiempo y trascender las limitaciones de la época. Así como las fotografías son amuletos colmados de recuerdos de personas y de momentos, en Retrato de una mujer en llamas (2019), los dibujos de Marianne anhelan perdurar aquel espacio y momento idílico donde ambas conocieron el amor. El retrato de Héloïse se convierte en el punto final, y de hecho, nunca dejó de serlo, pero tras haberse conocido, el lienzo mismo es testigo del enamoramiento, y un objeto que de alguna manera ellas crean en complicidad. Dolores menstruales y un embarazo no deseado son también subtramas que enriquecen la visión que tiene Sciamma sobre el cuerpo femenino, la de sexualidad y el deseo.</p>\n<p>Lo desgarrador del relato, cuya puesta en escena transita la intimidad a la luz de las velas, y el acecho del dolor en los paisajes eminentes, es el carácter atemporal de la historial; ya a más de dos siglos después y en especial aquí, la sociedad patriarcal aún rechaza cualquier manifestación de amor fuera del orden heteronormativo perpetuado y sostenido. Quizás algún día la tragedia sea una mera fábula y existan finales fuera de la pantalla que nos devuelva la mirada.</p>\n<p>Ver trailer:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=R-fQPTwma9o\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=R-fQPTwma9o\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Retrato de una mujer en llamas (2019)','','inherit','closed','closed','','942-revision-v1','','','2019-12-26 17:20:32','2019-12-26 20:20:32','',942,'http://lapistoladechejov.com/2019/12/26/942-revision-v1/',0,'revision','',0),(817,0,'2019-12-25 01:21:19','2019-12-25 01:21:19','<h6 class=\"font_6\" style=\"text-align: center; font-size: 40px;\"><span style=\"font-size:40px;\"><span style=\"font-family:courier new,courier-ps-w01,courier-ps-w02,courier-ps-w10,monospace\"><span class=\"color_11\"><span style=\"letter-spacing:0.4em\"><span class=\"backcolor_32\">UNA PELÍCULA, UNA ESCENA</span></span></span></span></span></h6><p class=\"font_7\"><span style=\"font-family:courier new,courier-ps-w01,courier-ps-w02,courier-ps-w10,monospace\"><span class=\"color_12\">Críticas de películas, viejas y nuevas. Selección y recomendaciones. Artículos sobre cine.</span></span></p>','Críticas','','publish','open','open','','blog','','','2019-12-25 01:21:19','2019-12-25 01:21:19','',0,'',0,'page','',0),(818,2,'2019-12-25 01:21:19','2019-12-25 01:21:19','<h2>Alexandra Vazquez</h2>\n<h3>Crítica de cine, docente, guionista.</h3>\n<p dir=\"ltr\"><img class=\"alignleft size-medium wp-image-935\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Alexandra-Vazquez-imagen-perfil-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\">Alexandra Vazquez, crítica de cine, guionista y realizadora. Máster en Crítica Cinematográfica egresada de la escuela Aula Crítica, en Barcelona, y Lic. en Cinematografía con énfasis en Guión de la Universidad Columbia del Paraguay.</p>\n<p dir=\"ltr\">En su carácter de crítica, escribe para la revista internacional de crítica especializada El Espectador Imaginario y para su blog <i>La Pistola de Chéjov</i>. Además, es coordinadora y disertante del ciclo de cine debate gratuito <i>En Foco</i> que se realiza una vez al mes. Ha escrito también para la Revista Encuadra de Argentina y ha participado del Talent Press en el marco del Buenos Aires Talents, foro de discusión cinematográfico organizado por la Universidad del Cine en colaboración con el Festival de Cine de Berlín, Berlinale Talents, el Goethe-Institut Buenos Aires y el BAFICI. <span id=\"m_-6650225958021873647gmail-docs-internal-guid-5c1dc301-7fff-31c3-eb3f-caa271f286b4\">Trabaja además como guionista freelance y script doctor y desde el 2017 se desempeña como docente en la carrera de cinematografía de la Universidad Columbia.</span></p>\n<p dir=\"ltr\">Se encuentra desarrollando Yo también, proyecto de largometraje que ha participado en el Taller Cinematográfico Los Residentes, en Paraguay (2017), y en el 6to Laboratorio de Guion organizado por la Corporación Cinefilia, en Colombia (2018). El proyecto ha formado parte de la selección oficial del Oaxaca Filmfest 2017, México, en la categoría de Global Script Challenge.</p>\n<p dir=\"ltr\"></p>\n[col size=\"8\"]\n\n[contact-form-7 id=\"5\" title=\"Contact Us\"]\n\n[/col]','Contacto','','publish','closed','open','','acerca-de-la-pistola','','','2019-12-28 16:39:12','2019-12-28 19:39:12','',0,'',0,'page','',0),(936,2,'2019-12-26 10:41:17','2019-12-26 13:41:17','<h2>Alexandra Vazquez</h2>\n<h3>Crítica de cine, docente, guionista.</h3>\n<p dir=\"ltr\"><img class=\"alignleft size-medium wp-image-935\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Alexandra-Vazquez-imagen-perfil-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" />Alexandra Vazquez, crítica de cine, guionista y realizadora. Máster en Crítica Cinematográfica egresada de la escuela Aula Crítica, en Barcelona, y Lic. en Cinematografía con énfasis en Guión de la Universidad Columbia del Paraguay.</p>\n<p dir=\"ltr\">En su carácter de crítica, escribe para la revista internacional de crítica especializada El Espectador Imaginario y para su blog <i>La Pistola de Chéjov</i>. Además, es coordinadora y disertante del ciclo de cine debate gratuito <i>En Foco</i> que se realiza una vez al mes. Ha escrito también para la Revista Encuadra de Argentina y ha participado del Talent Press en el marco del Buenos Aires Talents, foro de discusión cinematográfico organizado por la Universidad del Cine en colaboración con el Festival de Cine de Berlín, Berlinale Talents, el Goethe-Institut Buenos Aires y el BAFICI. <span id=\"m_-6650225958021873647gmail-docs-internal-guid-5c1dc301-7fff-31c3-eb3f-caa271f286b4\">Trabaja además como guionista freelance y script doctor y desde el 2017 se desempeña como docente en la carrera de cinematografía de la Universidad Columbia.</span></p>\n<p dir=\"ltr\">Se encuentra desarrollando Yo también, proyecto de largometraje que ha participado en el Taller Cinematográfico Los Residentes, en Paraguay (2017), y en el 6to Laboratorio de Guion organizado por la Corporación Cinefilia, en Colombia (2018). El proyecto ha formado parte de la selección oficial del Oaxaca Filmfest 2017, México, en la categoría de Global Script Challenge.</p>','Contacto','','inherit','closed','closed','','818-revision-v1','','','2019-12-26 10:41:17','2019-12-26 13:41:17','',818,'http://lapistoladechejov.com/2019/12/26/818-revision-v1/',0,'revision','',0),(942,2,'2019-12-26 17:31:25','2019-12-26 20:31:25','<h2>La memoria de los trazos.</h2>\n<p>En algún lugar de Francia a finales del siglo XVIII, Marianne arriba a una casa cerca de la costa para pintar el retrato de Héloïse, una mujer que se resiste a ser retratada. La belleza de la pintura será determinante en su futuro; si es del agrado del posible marido, él accederá al matrimonio. Y he aquí la oposición de esta mujer privada de libertad, que fue retirada del convento sólo para ser ofertada por su madre a un pretendiente desconocido de Milán. Para ella, el cuadro es una sentencia que definirá una vida sobre la cual ella no tiene poder alguno de decisión. Atribuyamos por de pronto la desgracia de las situaciones al contexto histórico, porque aquí ninguna de las mujeres están exentas del dominio masculino, sea en el ámbito artístico o cotidiano. Lo cierto es que la hazaña a la que se enfrenta la pintora se complica aún más, porque para enmascarar la verdadera razón de su presencia en la casa, deberá fingir ser una acompañante de día y pintar el retrato de noche, a escondidas y con el recuerdo como único aliado.</p>\n<p>Tras una carrera frenética hacia el precipicio costero, Marianne ve por primera vez el rostro descubierto de Héloïse, quien revela sus ganas imperiosas de sentir bajo la pesadumbre de su condena. Y, desde este primer enfrentamiento sublime, con las olas rompiendo con fuerza sobre las piedras del acantilado, despierta en ella una fascinación por su imagen, un rostro que ella absorbe y asimila en sus paseos por la playa. Las facciones de Héloïse se impregnan en la memoria de Marianne, y ella, a la luz de las velas replica cada gesto, cada mirada, cada postura, como pequeños fragmentos que conforman las piezas de un enigma irresoluto. El piso, cubierto de bocetos de detalles de las manos, de la nuca, o del labio de Héloïse, son destellos de instantes capturados en papel de lo cual Marianne se aferra para trazar las primeras tímidas pinceladas sobre el lienzo en blanco.</p>\n<p>En este mirar constante aflora el deseo, y en la pulsión del deseo brota una profunda pasión que se aviva con el transcurso de los días, porque el mirar implica un intercambio de miradas, un ser mirado y un devolver la mirada, razón por la cual el foco de la fotografía recae sobre los gestos, las cejas levantadas y los suspiros por la boca que evidencian la incomodidad de la contemplación y el eventual reconocimiento de la observación curiosa, pero desconfiada por el inevitable sufrimiento que se avecina.</p>\n<p>Céline Sciamma ilustra con profunda sensibilidad una historia de amor imposible donde el olvido se combate con imágenes, porque para sus personajes las imágenes son las únicas que puedan perdurar en el tiempo y trascender las limitaciones de la época. Así como las fotografías son amuletos colmados de recuerdos de personas y de momentos, en <em><strong>Retrato de una mujer en llamas</strong></em> (2019), los dibujos de Marianne anhelan perdurar aquel espacio y tiempo idílico suspendido donde ambas conocieron el amor. El retrato de Héloïse se convierte en el punto final, y de hecho, nunca dejó de serlo, pero tras haberse conocido, el lienzo mismo es testigo del enamoramiento, y un objeto que de alguna manera ellas crean en complicidad. Dolores menstruales y un embarazo no deseado son también subtramas que enriquecen la visión que tiene Sciamma sobre el cuerpo femenino, la de sexualidad y el deseo.</p>\n<p>Lo desgarrador del relato, cuya puesta en escena transita la intimidad a la luz de las velas, y el acecho del dolor en los paisajes eminentes, es el carácter atemporal de la historial; ya a más de dos siglos después y en especial aquí, la sociedad patriarcal aún rechaza cualquier manifestación de amor fuera del orden heteronormativo perpetuado y sostenido. Quizás algún día la tragedia sea una mera fábula y existan finales en pantalla que nos devuelvan la mirada.</p>\n<p>Ver trailer:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=R-fQPTwma9o\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=R-fQPTwma9o\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Retrato de una mujer en llamas (2019)','','publish','open','open','','retrato-de-una-mujer-en-llamas-2019','','','2020-01-16 11:14:02','2020-01-16 14:14:02','',0,'http://lapistoladechejov.com/?p=942',0,'post','',0),(943,2,'2019-12-26 17:14:37','2019-12-26 20:14:37','<h2>La memoria de los trazos.</h2>\nEn algún lugar de Francia a finales del siglo XVIII, Marianne arriba a una casa cerca de la costa para pintar el retrato de Héloïse, una mujer que se resiste a ser retratada. La belleza de la pintura será determinante en su futuro; si es del agrado del posible marido, él accederá al matrimonio. Y he aquí la oposición de esta mujer privada de libertad, que fue retirada del convento sólo para ser ofertada por su madre a un pretendiente de Milán. Para ella, el cuadro es una sentencia que definirá una vida sobre la cual ella no tiene poder alguno de decisión. Atribuyamos por de pronto la desgracia de las situaciones al contexto histórico, porque aquí ninguna de las mujeres están exentas del dominio masculino, sea en el ámbito artístico o cotidiano. Lo cierto es que la hazaña a la que se enfrenta la pintora se complica aún más, porque para enmascarar la verdadera razón de su presencia en la casa, deberá fingir ser una acompañante de día y pintar el retrato de noche, a escondidas y con el recuerdo como único aliado.\n\nTras una carrera frenética hacia el precipicio costero, Marianne ve el rostro descubierto de Héloïse por primera vez, quien revela sus ganas imperiosas de sentir bajo la pesadumbre de su condena. Y, desde este primer enfrentamiento sublime, con las olas rompiendo con fuerza sobre las piedras del acantilado, despierta en ella una fascinación por su imagen, un rostro que ella absorbe y asimila en sus paseos por la playa. Las facciones de Héloïse se impregnan en la memoria de Marianne, y ella, a la luz de las velas replica cada gesto, cada mirada, cada postura, como pequeños fragmentos que conforman las piezas que moldean un enigma irresoluto. El piso, cubierto de bocetos de detalles de las manos, de la nuca, o del labio de Héloïse son destellos de instantes capturados en papel de lo cual Marianne se aferra para trazar las primeras tímidas pinceladas sobre el lienzo en blanco.\n\nEn este mirar constante aflora el deseo, y en la pulsión del deseo brota una profunda pasión que se aviva con el transcurso de los días, porque el mirar implica un intercambio de miradas, un ser mirado y un devolver la mirada, razón por la cual el foco de la fotografía recae sobre los gestos, las cejas levantadas y los suspiros por la boca que evidencian la incomodidad de la contemplación y la eventual complicidad de la observación curiosa, pero desconfiada por el inevitable sufrimiento que se avecina.\n\nCéline Sciamma ilustra con profunda sensibilidad una historia de amor imposible donde el olvido se combate con imágenes, porque para sus personajes las imágenes son las únicas que puedan perdurar en el tiempo y trascender las limitaciones de la época. Así como las fotografías son amuletos colmados de recuerdos de personas y de momentos, en Retrato de una mujer en llamas (2019), los dibujos de Marianne anhelan perdurar aquel espacio y momento idílico donde ambas conocieron el amor. El retrato de Héloïse se convierte en el punto final, y de hecho, nunca dejó de serlo, pero tras haberse conocido, el lienzo mismo es testigo del enamoramiento, y un objeto que de alguna manera ellas crean en complicidad. Dolores menstruales y un embarazo no deseado son también subtramas que enriquecen la visión que tiene Sciamma sobre el cuerpo femenino, la de sexualidad y el deseo.\n\nLo desgarrador del relato, cuya puesta en escena transita la intimidad a la luz de las velas, y el acecho del dolor en los paisajes eminentes, es el carácter atemporal de la historial; ya a más de dos siglos después y en especial aquí, la sociedad patriarcal aún rechaza cualquier manifestación de amor fuera del orden heteronormativo perpetuado y sostenido. Quizás algún día la tragedia sea una mera fábula y existan finales fuera de la pantalla que nos devuelva la mirada.','Retrato de una mujer en llamas (2019)','','inherit','closed','closed','','942-revision-v1','','','2019-12-26 17:14:37','2019-12-26 20:14:37','',942,'http://lapistoladechejov.com/2019/12/26/942-revision-v1/',0,'revision','',0),(1171,2,'2020-03-31 14:32:29','2020-03-31 18:32:29','<iframe title=\"INFIERNO GRANDE\" src=\"https://player.vimeo.com/video/279950309?dnt=1&app_id=122963\" width=\"1200\" height=\"600\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen></iframe>','','','publish','closed','closed','','6050fa0c5db251ae1328532ef636306f','','','2020-03-31 14:32:29','2020-03-31 18:32:29','',0,'http://lapistoladechejov.com/2020/03/31/6050fa0c5db251ae1328532ef636306f/',0,'oembed_cache','',0),(1172,2,'2020-03-31 14:33:23','2020-03-31 18:33:23','<h2>El infierno cotidiano.</h2>\n<p><span style=\"font-weight: 400;\">En ocasiones, quizás más de lo que esperamos y menos de lo que somos consciente, el cine nos devuelve imágenes saturadas de violencia de género que reflejan la sociedad machista donde nos toca vivir; escenas injustificadas de abuso, de sumisión, o mismo de dependencia de sus personajes femeninos hacia sus pares masculinos, han configurado el lenguaje de un cine hegemónico desinteresado en cuestionar siquiera la dominación que ejerce el patriarcado sobre la mujer, ni mucho menos descomponer las aristas de una problemática global que desemboca en cifras alarmantes de feminicidio. Por suerte, existe lo otro. </span></p>\n<p><span style=\"font-weight: 400;\">En </span><b><i>Infierno grande</i></b><span style=\"font-weight: 400;\"> de Alberto Romero, María es una profesora de colegio que vive entre cuatro paredes una situación infernal: es víctima de violencia física y verbal por parte de Lionel, su marido, un candidato político que le dicta cada tarea que debe realizar y cómo las debe ejecutar, con obediencia y respeto. Para empeorar las cosas, María está a punto de parir. El matrimonio vive en un pequeño pueblo de La Pampa, donde la obviedad del famoso refrán queda corta, porque afuera también es un infierno árido de vastas extensiones de tierra sin nada más que sol y polvo. Pero tras un pequeño incidente, María pone en marcha un plan de escape y se enfrenta a la hostilidad del desierto para huir de su violenta pareja. Coge un rifle de caza, un pollo congelado y un bolso, y se sube a su camioneta destartalada sin saber el camino pero con el destino bien claro. </span></p>\n<p><span style=\"font-weight: 400;\">La voz en off del hijo de María narra a modo de fábula la historia de cuándo y cómo él nació, como si la película entera fuera un flashback, y la cacería que se dispara un par de días antes de su nacimiento, tan solo un evento del pasado. Esta voz que reconforta, y que podría anticipar el final, se afronta a la crueldad del entorno que ella debe encarar para sobrevivir, y a la ansiedad de la travesía incierta.</span></p>\n<p><span style=\"font-weight: 400;\">Mientras ella intenta encontrar Naicó, el pueblo fantasma de donde provenían sus padres, transita rutas vacías y paraderos en ruinas. Pero el enemigo de María no solo es el clima ni la devastación sobrecogedora que la acompaña, sino también Lionel, un hombre corpulento pero minúsculo en la inmensidad de la provincia que sigue sus rastros sin detenerse alimentado por la ira que solo va en aumento. Y ella, es la protagonista de este western atípico, con tintes fantásticos y apocalípticos, donde los paisajes de la llanura pampeana le inundan de preguntas y le recuerdan pequeños fragmentos de su vida subyugada.</span></p>\n<p><span style=\"font-weight: 400;\">La imagen de su panza y su movilidad limitada le atribuye una carga de fragilidad adicional, por lo que cada parada supone para María, un riesgo aún mayor. Por la carretera, ella se topa con una variedad de personajes curtidos por la desolación de la región, cada uno con una actitud impredecible, desde la resignación al ingenio. A través del horizonte despoblado, </span><b><i>Infierno grande </i></b><span style=\"font-weight: 400;\">se ocupa además de ilustrar un escenario pintado por el abandono; si en tiempos anteriores el tren era sinónimo de progreso y movimiento, aquí solo es un vestigio de una falsa promesa donde sus habitantes conviven como pueden con la soledad del vacío.</span></p>\n<p><span style=\"font-weight: 400;\">Más allá del posible desenlace sugerido, y las interpretaciones metafóricas que podrían entreverse, </span><b><i>Infierno grande </i></b><span style=\"font-weight: 400;\">es el relato de una mujer que persigue su libertad; cuando la pesadilla es más grande que La Pampa, el viaje físico es un complemento al viaje emocional de María. Para Romero, el infierno puede ser grande, pero no insuperable. </span></p>\n<p><span style=\"font-weight: 400;\">Ver ahora:</span></p>\n\n<!-- wp:core-embed/vimeo {\"url\":\"https://vimeo.com/279950309\",\"type\":\"video\",\"providerNameSlug\":\"vimeo\",\"className\":\"wp-embed-aspect-18-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-18-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://vimeo.com/279950309\n</div></figure>\n<!-- /wp:core-embed/vimeo -->','Infierno grande (2019)','','inherit','closed','closed','','1169-revision-v1','','','2020-03-31 14:33:23','2020-03-31 18:33:23','',1169,'http://lapistoladechejov.com/2020/03/31/1169-revision-v1/',0,'revision','',0),(1154,2,'2020-03-02 16:46:27','2020-03-02 19:46:27','<h2>Hormigas revoltosas. </h2>\n<p><span style=\"font-weight: 400;\">Con esmero minucioso, Isa decora una torta de bautismo. Afuera, sus hijas corretean con los demás niños de la familia. Alcides, su marido, le pide un café. Su suegra, que se apure con el postre, pues los comensales están ansiosos. Su cuñada, que sostenga al bebé, un ratito aunque sea. Y que se apure con la decoración. Alguien comenta que el dibujo de la cruz está un poquito grueso, que el café tenía sal y hay que hacerlo de nuevo, y Alcides, que sería lindo tener un hijo. De pronto, Isa no aguanta más y en un acto sereno que apacigua las voces a su alrededor, sumerge las manos en el pastel y lo devora con el deleite que este acto de rebeldía repentina provoca. Pero es solo una fantasía; Isabel no ha hecho más que demorar la sobremesa del almuerzo con sus sueños diurnos.</span></p>\n<p><span style=\"font-weight: 400;\">En este ambiente fatigante, de reclamos y pedidos que la envuelven con sus ruidos, Isabel es ama de casa, madre y esposa, porque las condiciones culturalmente impuestas la sitúan a cargo del hogar. Por ende, ella vive sirviendo a los demás. Sus gustos poco importan, y lleva el pelo largo hasta la cintura tal como a su marido le place, por más que esto demande horas de cuidado intensivo. El agobio que tolera y que asume llega a su límite con la presión de Alcides por tener un tercer hijo, cuando ella hace malabares con el poco dinero que obtiene de su trabajo como costurera y que apenas le permite comprar un foco. </span></p>\n<p><span style=\"font-weight: 400;\">Esta reiteración desata en ella un acto de resistencia que se cuece a fuego lento mediante gestos de incomodidad que invaden la pantalla. Mientras las hormigas se entrometen a la casa en silencio, su larga cabellera pierde vigor y cae con el más mínimo tirón, sea la intromisión de la suegra en sus labores como madre o la imposición ya física de su marido encaprichado. Los insectos, que fastidian pero no pican, asedian los espacios pequeños y se vuelven una molestia cuando suben por las piernas de Isa, así como la opresión doméstica se agudiza cuando ella cae en realización que no tiene el poder de decisión sobre su cuerpo.</span></p>\n<p><span style=\"font-weight: 400;\">Así como Isa carece de voz, Alcides también es el producto de una crianza machista; la observación aguda y acertada de la directora sobre la relación del hombre con su madre y hermana son suficientes para percibir un factor más que inmortaliza esta idiosincrasia instaurada. Es posible intuir que las dinámicas internas del matrimonio en la película se replican en la mayoría de las familias latinoamericanas, y en todo el mundo también. Su apariencia mundana es lo que paradójicamente revela el carácter universal de la situación que describe el relato.</span></p>\n<p><b><i>El despertar de las hormigas</i></b><span style=\"font-weight: 400;\"> narra con naturalidad y sensibilidad el día a día de su protagonista puesto que se fija en los detalles más íntimos y familiares que conforman su vida cotidiana; los cubiertos sucios, los cabellos sueltos enredados en el cepillo, y los insectos que también habitan la casa como huéspedes no invitados se enfrentan al rostro cansino de Isa a través del cual se desdibuja la angustia, el disgusto o en contrapartida, el placer. Porque en este microentorno, pequeños actos emancipatorios como comprar una tela o disfrutar la sensualidad de un baile sin el obligatorio acompañante masculino, despiertan una lucha feminista en los estratos más inesperados, pues la revolución puede darse también los sitios más reducidos.</span></p>\n<p><span style=\"font-weight: 400;\">Escrita y dirigida por Antonella Sudasassi Furniss, </span><b><i>El despertar de las hormigas </i></b><span style=\"font-weight: 400;\">sofoca sin ahorcar, y desespera con la cámara puesta en las miradas que ocultan mucho más de lo pueden decir. Bajo una lupa que enmarca la claustrofobia física y mental de Isa, se evidencia además cómo el patriarcado se ha instalado a la fuerza en los rincones más minúsculos y en las actitudes más rutinarias; cuando el no saber dónde están los vasos en la cocina se traslada al rechazo absoluto de los deseos de la mujer, la sociedad machista perpetrada no resulta tan inofensiva como los bichitos de luz. Y si prestamos atención, el cine de Sudasassi resuena tan fuerte como el despabilar inminente de las hormigas. </span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=LIOSEKtgUlg\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=LIOSEKtgUlg\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El despertar de las hormigas (2019)','','publish','open','open','','el-despertar-de-las-hormigas-2019','','','2020-03-02 16:46:31','2020-03-02 19:46:31','',0,'http://lapistoladechejov.com/?p=1154',0,'post','',0),(1155,2,'2020-03-02 16:43:06','2020-03-02 19:43:06','<iframe title=\"El despertar de las hormigas - Trailer (HD)\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/LIOSEKtgUlg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','3b367a520a2ddf20cfabd7716358dc07','','','2020-03-02 16:43:06','2020-03-02 19:43:06','',0,'http://lapistoladechejov.com/2020/03/02/3b367a520a2ddf20cfabd7716358dc07/',0,'oembed_cache','',0),(1156,2,'2020-03-02 16:45:06','2020-03-02 19:45:06','El despertar de las hormigas','el despertar 5','','inherit','open','closed','','el-despertar-5','','','2020-03-02 16:45:25','2020-03-02 19:45:25','',1154,'http://lapistoladechejov.com/wp-content/uploads/2020/03/el-despertar-5.jpg',0,'attachment','image/jpeg',0),(1157,2,'2020-03-02 16:46:02','2020-03-02 19:46:02','<h2>Hormigas revoltosas. </h2>\n<p><span style=\"font-weight: 400;\">Con esmero minucioso, Isa decora una torta de bautismo. Afuera, sus hijas corretean con los demás niños de la familia. Alcides, su marido, le pide un café. Su suegra, que se apure con el postre, pues los comensales están ansiosos. Su cuñada, que sostenga al bebé, un ratito aunque sea. Y que se apure con la decoración. Alguien comenta que el dibujo de la cruz está un poquito grueso, que el café tenía sal y hay que hacerlo de nuevo, y Alcides, que sería lindo tener un hijo. De pronto, Isa no aguanta más y en un acto sereno que apacigua las voces a su alrededor, sumerge las manos en el pastel y lo devora con el deleite que este acto de rebeldía repentina provoca. Pero es solo una fantasía; Isabel no ha hecho más que demorar la sobremesa del almuerzo con sus sueños diurnos.</span></p>\n<p><span style=\"font-weight: 400;\">En este ambiente fatigante, de reclamos y pedidos que la envuelven con sus ruidos, Isabel es ama de casa, madre y esposa, porque las condiciones culturalmente impuestas la sitúan a cargo del hogar. Por ende, ella vive sirviendo a los demás. Sus gustos poco importan, y lleva el pelo largo hasta la cintura tal como a su marido le place, por más que esto demande horas de cuidado intensivo. El agobio que tolera y que asume llega a su límite con la presión de Alcides por tener un tercer hijo, cuando ella hace malabares con el poco dinero que obtiene de su trabajo como costurera y que apenas le permite comprar un foco. </span></p>\n<p><span style=\"font-weight: 400;\">Esta reiteración desata en ella un acto de resistencia que se cuece a fuego lento mediante gestos de incomodidad que invaden la pantalla. Mientras las hormigas se entrometen a la casa en silencio, su larga cabellera pierde vigor y cae con el más mínimo tirón, sea la intromisión de la suegra en sus labores como madre o la imposición ya física de su marido encaprichado. Los insectos, que fastidian pero no pican, asedian los espacios pequeños y se vuelven una molestia cuando suben por las piernas de Isa, así como la opresión doméstica se agudiza cuando ella cae en realización que no tiene el poder de decisión sobre su cuerpo.</span></p>\n<p><span style=\"font-weight: 400;\">Así como Isa carece de voz, Alcides también es el producto de una crianza machista; la observación aguda y acertada de la directora sobre la relación del hombre con su madre y hermana son suficientes para percibir un factor más que inmortaliza esta idiosincrasia instaurada. Es posible intuir que las dinámicas internas del matrimonio en la película se replican en la mayoría de las familias latinoamericanas, y en todo el mundo también. Su apariencia mundana es lo que paradójicamente revela el carácter universal de la situación que describe el relato.</span></p>\n<p><b><i>El despertar de las hormigas</i></b><span style=\"font-weight: 400;\"> narra con naturalidad y sensibilidad el día a día de su protagonista puesto que se fija en los detalles más íntimos y familiares que conforman su vida cotidiana; los cubiertos sucios, los cabellos sueltos enredados en el cepillo, y los insectos que también habitan la casa como huéspedes no invitados se enfrentan al rostro cansino de Isa a través del cual se desdibuja la angustia, el disgusto o en contrapartida, el placer. Porque en este microentorno, pequeños actos emancipatorios como comprar una tela o disfrutar la sensualidad de un baile sin el obligatorio acompañante masculino, despiertan una lucha feminista en los estratos más inesperados, pues la revolución puede darse también los sitios más reducidos.</span></p>\n<p><span style=\"font-weight: 400;\">Escrita y dirigida por Antonella Sudasassi Furniss, </span><b><i>El despertar de las hormigas </i></b><span style=\"font-weight: 400;\">sofoca sin ahorcar, y desespera con la cámara puesta en las miradas que ocultan mucho más de lo pueden decir. Bajo una lupa que enmarca la claustrofobia física y mental de Isa, se evidencia además cómo el patriarcado se ha instalado a la fuerza en los rincones más minúsculos y en las actitudes más rutinarias; cuando el no saber dónde están los vasos en la cocina se traslada al rechazo absoluto de los deseos de la mujer, la sociedad machista perpetrada no resulta tan inofensiva como los bichitos de luz. Y si prestamos atención, el cine de Sudasassi resuena tan fuerte como el despabilar inminente de las hormigas. </span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=LIOSEKtgUlg\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=LIOSEKtgUlg\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El despertar de las hormigas (2019)','','inherit','closed','closed','','1154-revision-v1','','','2020-03-02 16:46:02','2020-03-02 19:46:02','',1154,'http://lapistoladechejov.com/2020/03/02/1154-revision-v1/',0,'revision','',0),(825,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','¿Qué hacemos?','','publish','open','open','','0-d77','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(826,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Acerca de La Pistola','','publish','open','open','','0-d5','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(827,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Publicaciones','','publish','open','open','','0-d7','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(829,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Críticas','','publish','open','open','','0-d6','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(830,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Profile','','publish','open','open','','0-d10','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(831,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Entradas del blog','','publish','open','open','','0-d3','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(832,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Mis borradores','','publish','open','open','','0-d93','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(833,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Comentarios del blog ','','publish','open','open','','0-d84','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(834,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Likes del blog','','publish','open','open','','0-d46','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(835,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','My Account','','publish','open','open','','0-d9','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(836,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Notifications','','publish','open','open','','0-d89','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(837,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Settings','','publish','open','open','','0-d98','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(838,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Profile','','publish','open','open','','0-d96','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(839,1,'2019-12-24 01:21:33','2019-12-24 01:21:33','','Mis borradores','','publish','open','open','','0-d4','','','2019-12-24 01:21:33','2019-12-24 01:21:33','',0,'',0,'nav_menu_item','',0),(840,1,'2019-12-24 01:21:34','2019-12-24 01:21:34','','My Account','','publish','open','open','','0-d62','','','2019-12-24 01:21:34','2019-12-24 01:21:34','',0,'',0,'nav_menu_item','',0),(841,1,'2019-12-24 01:21:34','2019-12-24 01:21:34','','Notifications','','publish','open','open','','0-d68','','','2019-12-24 01:21:34','2019-12-24 01:21:34','',0,'',0,'nav_menu_item','',0),(842,1,'2019-12-24 20:27:45','2019-12-24 23:27:45','Sinónimos imagen destacada','Sinonimo 2019 imagen','','inherit','open','closed','','sinonimo-2019-imagen','','','2019-12-26 09:49:19','2019-12-26 12:49:19','',765,'http://lapistoladechejov.com/wp-content/uploads/2019/12/Sinonimo-2019-imagen-1.jpg',0,'attachment','image/jpeg',0),(843,1,'2019-12-24 20:27:58','2019-12-24 23:27:58','<div style=\"font-weight:bold;\"> Colérica. Frenética. Exasperante.</div>\n<div><img style=\"text-align:center;\" src=\"https://static.wixstatic.com/media/51b808_2d11213168fc4f69af0f150725972a16~mv2_d_2400_1600_s_2.jpg\"></div>\n<div></div>\n<div>Abominable. Fétido. Horripilante. Repugnante… malvado. Son tan solo algunas de las palabras que Yoav, un ex soldado israelí, utiliza para describir su país de origen. Recién llegado a París, él espera convertirse en francés lo antes posible, y a cualquier precio, sea que tenga que pasar la noche en un departamento vacío al borde de la muerte, o posar desnudo para satisfacer los fetiches de un realizador de películas pornográficas. Pero la ira de este joven expatriado es tal que alimenta como un combustible inagotable su único propósito: adoptar la nacionalidad francesa.</div>\n<div></div>\n<div>Para hacerlo, Yoav se despoja de su lengua, de su religión y de sus costumbres, como si fueran meros objetos que ya no caben más en la mochila. Hablar francés y estar en Francia es un consuelo físico del absceso que lo carcomía, y cuando un infortunio lo deja desnudo y sin ninguna pertenencia, él renace amputado de su pasado. En este trajín de supervivencia y escasez, de comidas enlatadas y fricciones con la embajada israelí, sumado a las dudosas intenciones de una pareja que le ofrece cobijo, quizás lo único que Yoav tenga sean sus historias que afirman y reafirman la incertidumbre de sus planes futuros más allá de obtener un nuevo pasaporte.</div>\n<div></div>\n<div>La cámara brusca, tosca, dirigida hacia el suelo, replica su andar obstinado por las calles parisinas que ignoran su presencia mientras que Yoav, siempre con la vista al piso, recita como mantra los sinónimos del día: devorar, deglutir, engullir. O, si el hambre es crónico, croissant. Croissant de manteca, de chocolate, de almendra. Así como se rehúsa a hablar en hebreo, él se niega a levantar la mirada y acatar los paisajes que son, y quizás serán, su nuevo hogar. El rechazo a ser seducido, o ser engañado, irónicamente persiste en la búsqueda de apoderarse de aquello que hace francés a un francés. ¿Será una fecha importante? ¿El himno nacional? ¿Los nombres de los presidentes? Afuera, él no se detiene un segundo. No deambula, huye. Y la imagen, colérica y nauseabunda, alude la tensión propia de un campo de guerra.</div>\n<div></div>\n<div>Tal vez sea ingenuo pretender desprenderse de un pasado que atenta siempre con volver a germinar; sus mismas palabras evocan recuerdos que paralizan este limbo de escape temporal que ofrece por de pronto su ubicación geográfica. En esta lucha frenética entre el dolor y el odio, la nacionalidad es un demonio, un fantasma, y su única protección es un diccionario que actúa como blindaje y ariete a la vez, porque el repudio hacia la pertenencia a un país no significa la receptividad del otro, ni implica una adaptación sencilla.</div>\n<div></div>\n<div style=\"font-weight:bold;font-style: italic;\">En Sinónimos (2019), película basada en las propias experiencias vividas por el director Nadav Lapid, la resistencia y la agresión de las palabras se traduce en conflictos personales y políticos que atacan el concepto de estado, pues el relato intenso e impredecible solo evidencia un síntoma de este mundo infectado por un incipiente nacionalismo violento que olvida que al final somos todos seres humanos.</div>\n<div></div>\n<div>Trailer:</div>\n<div></div>','Sinónimos (2019)','','inherit','closed','closed','','765-revision-v1','','','2019-12-24 20:27:58','2019-12-24 23:27:58','',765,'http://lapistoladechejov.com/2019/12/24/765-revision-v1/',0,'revision','',0),(844,1,'2019-12-24 20:28:47','2019-12-24 23:28:47','<div style=\"font-weight: bold;\">Colérica. Frenética. Exasperante.</div>\n<div></div>\n<div></div>\n<div>Abominable. Fétido. Horripilante. Repugnante… malvado. Son tan solo algunas de las palabras que Yoav, un ex soldado israelí, utiliza para describir su país de origen. Recién llegado a París, él espera convertirse en francés lo antes posible, y a cualquier precio, sea que tenga que pasar la noche en un departamento vacío al borde de la muerte, o posar desnudo para satisfacer los fetiches de un realizador de películas pornográficas. Pero la ira de este joven expatriado es tal que alimenta como un combustible inagotable su único propósito: adoptar la nacionalidad francesa.</div>\n<div></div>\n<div>Para hacerlo, Yoav se despoja de su lengua, de su religión y de sus costumbres, como si fueran meros objetos que ya no caben más en la mochila. Hablar francés y estar en Francia es un consuelo físico del absceso que lo carcomía, y cuando un infortunio lo deja desnudo y sin ninguna pertenencia, él renace amputado de su pasado. En este trajín de supervivencia y escasez, de comidas enlatadas y fricciones con la embajada israelí, sumado a las dudosas intenciones de una pareja que le ofrece cobijo, quizás lo único que Yoav tenga sean sus historias que afirman y reafirman la incertidumbre de sus planes futuros más allá de obtener un nuevo pasaporte.</div>\n<div></div>\n<div>La cámara brusca, tosca, dirigida hacia el suelo, replica su andar obstinado por las calles parisinas que ignoran su presencia mientras que Yoav, siempre con la vista al piso, recita como mantra los sinónimos del día: devorar, deglutir, engullir. O, si el hambre es crónico, croissant. Croissant de manteca, de chocolate, de almendra. Así como se rehúsa a hablar en hebreo, él se niega a levantar la mirada y acatar los paisajes que son, y quizás serán, su nuevo hogar. El rechazo a ser seducido, o ser engañado, irónicamente persiste en la búsqueda de apoderarse de aquello que hace francés a un francés. ¿Será una fecha importante? ¿El himno nacional? ¿Los nombres de los presidentes? Afuera, él no se detiene un segundo. No deambula, huye. Y la imagen, colérica y nauseabunda, alude la tensión propia de un campo de guerra.</div>\n<div></div>\n<div>Tal vez sea ingenuo pretender desprenderse de un pasado que atenta siempre con volver a germinar; sus mismas palabras evocan recuerdos que paralizan este limbo de escape temporal que ofrece por de pronto su ubicación geográfica. En esta lucha frenética entre el dolor y el odio, la nacionalidad es un demonio, un fantasma, y su única protección es un diccionario que actúa como blindaje y ariete a la vez, porque el repudio hacia la pertenencia a un país no significa la receptividad del otro, ni implica una adaptación sencilla.</div>\n<div></div>\n<div style=\"font-weight: bold; font-style: italic;\">En Sinónimos (2019), película basada en las propias experiencias vividas por el director Nadav Lapid, la resistencia y la agresión de las palabras se traduce en conflictos personales y políticos que atacan el concepto de estado, pues el relato intenso e impredecible solo evidencia un síntoma de este mundo infectado por un incipiente nacionalismo violento que olvida que al final somos todos seres humanos.</div>\n<div></div>\n<div>Trailer:</div>\n<div></div>','Sinónimos (2019)','','inherit','closed','closed','','765-revision-v1','','','2019-12-24 20:28:47','2019-12-24 23:28:47','',765,'http://lapistoladechejov.com/2019/12/24/765-revision-v1/',0,'revision','',0),(901,2,'2019-12-26 09:24:17','2019-12-26 12:24:17','<h2 style=\"font-weight: bold;\">La desgracia hecha espectáculo.</h2>\nLuis Ospina agarra al pueblo y lo sacude, en un manifiesto que exige un abrir de ojos frente a lo que él denomina como el cine de la miseria o porno miseria donde la indigencia es un lucro y la desgracia se vuelve espectáculo. Con un tono sarcástico y crudo, Ospina satiriza cómo los documentalistas latinoamericanos, y en este caso particular los colombianos, pretenden abordar la pobreza que aqueja a países tercermundistas.\n\nCarlos Mayolo y Eduardo Carvajal fugen de director y camarógrafo en Agarrando pueblo (1977), una película que aparenta ser un documental que registra el andar cotidiano de los realizadores, quienes recorren barrios marginales en busca de las tomas ideales que derrochen lástima para aquella sociedad del consumo ávida por purgar la culpa con el dinero de la entrada al cine. En este juego perverso de exageración y mentira, la manipulación de la realidad a favor de la función está permitida, así como la intromisión y la apropiación desalmada de sujetos en forma de imágenes como meras posesiones. Existe además, una lista de personajes que obtener a toda costa (un borracho, una prostituta) como una lista de verificación de los ingredientes antropológicos que conforman el paisaje del subdesarrollo. Y, por si fuera poco, es legítimo también cualquier modo en que se obtienen ciertas imágenes como tirar monedas al agua para lograr que los niños se metan a buscarlas, porque así se bañan los niños en Colombia, o contratar a actores para que interpreten a una familia indigente utilizando como escenario una choza abandonada, porque así es la pobreza en los barrios más necesitados de Cali.\n\nEl relato se construye mediante dos lenguajes narrativos distintos. Por un lado, una cámara en blanco y negro sigue los andares de la dupla protagónica que como cazadores despiadados roban imágenes de la miseria para venderlas como mercancía a un supuesto canal europeo. Por el otro, dichas imágenes capturadas a color, el trofeo aprisionado que al otro lado del charco será exhibido como rareza. Pero Agarrando pueblo no es ni documental ni ficción, y catalogarlo como falso documental podría limitarse en un análisis meramente formal, cuando la trascendencia social y política radica en cuestionar los discursos de un género cinematográfico que han sido colonizados y absorbidos por el cine mismo con una peligrosa receptividad.\n\nEstá claro que el andar de los cineastas genera rechazo y que sus actitudes repugnan hasta el transeúnte anónimo que por desgracia atestigua el rodaje de alguna escena. Esta sensación revoltosa casi embarazosa solo se agudiza a pesar de que observamos los sucesos bajo la evidente ironía de sus directores Ospina y Mayolo que nos asegura una cierta improbabilidad frente a la atrocidad palpable, hasta que la irrupción de un personaje, hoy ya mítico, desvela la maquinaria detrás de la película.\n\nAgarrando pueblo es una crítica del cine sobre el cine mismo, es un grito a viva voz que exige un despertar de conciencia y de postura frente a las imágenes que consumimos y a las imágenes que creamos. Para Mayolo y Ospina, quien falleció el pasado 27 de septiembre, aquella mirada frívola hacia las condiciones de marginalidad y subdesarrollo sólo bajo el burdo pretexto de obtener ganancia es y será siempre, despreciable.\n<div>Ver ahora:</div>\n<iframe src=\"https://www.youtube.com/embed/kagX-E9S8B8?feature=oembed\" width=\"459\" height=\"344\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Agarrando pueblo (1977)','','inherit','closed','closed','','766-revision-v1','','','2019-12-26 09:24:17','2019-12-26 12:24:17','',766,'http://lapistoladechejov.com/2019/12/26/766-revision-v1/',0,'revision','',0),(845,1,'2019-12-24 20:29:45','2019-12-24 23:29:45','<div style=\"font-weight:bold;\"> La desgracia hecha espectáculo. </div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_9b6878bacdc74216b45794b8ff4b2f9d~mv2.jpg\" ></div><div></div><div>Luis Ospina agarra al pueblo y lo sacude, en un manifiesto que exige un abrir de ojos frente a lo que él denomina como el cine de la miseria o porno miseria donde la indigencia es un lucro y la desgracia se vuelve espectáculo. Con un tono sarcástico y crudo, Ospina satiriza cómo los documentalistas latinoamericanos, y en este caso particular los colombianos, pretenden abordar la pobreza que aqueja a países tercermundistas. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Carlos Mayolo y Eduardo Carvajal fugen de director y camarógrafo en Agarrando pueblo (1977), una película que aparenta ser un documental que registra el andar cotidiano de los realizadores, quienes recorren barrios marginales en busca de las tomas ideales que derrochen lástima para aquella sociedad del consumo ávida por purgar la culpa con el dinero de la entrada al cine. En este juego perverso de exageración y mentira, la manipulación de la realidad a favor de la función está permitida, así como la intromisión y la apropiación desalmada de sujetos en forma de imágenes como meras posesiones. Existe además, una lista de personajes que obtener a toda costa (un borracho, una prostituta) como una lista de verificación de los ingredientes antropológicos que conforman el paisaje del subdesarrollo. Y, por si fuera poco, es legítimo también cualquier modo en que se obtienen ciertas imágenes como tirar monedas al agua para lograr que los niños se metan a buscarlas, porque así se bañan los niños en Colombia, o contratar a actores para que interpreten a una familia indigente utilizando como escenario una choza abandonada, porque así es la pobreza en los barrios más necesitados de Cali. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">El relato se construye mediante dos lenguajes narrativos distintos. Por un lado, una cámara en blanco y negro sigue los andares de la dupla protagónica que como cazadores despiadados roban imágenes de la miseria para venderlas como mercancía a un supuesto canal europeo. Por el otro, dichas imágenes capturadas a color, el trofeo aprisionado que al otro lado del charco será exhibido como rareza. Pero Agarrando pueblo no es ni documental ni ficción, y catalogarlo como falso documental podría limitarse en un análisis meramente formal, cuando la trascendencia social y política radica en cuestionar los discursos de un género cinematográfico que han sido colonizados y absorbidos por el cine mismo con una peligrosa receptividad. </div><div></div><div>Está claro que el andar de los cineastas genera rechazo y que sus actitudes repugnan hasta el transeúnte anónimo que por desgracia atestigua el rodaje de alguna escena. Esta sensación revoltosa casi embarazosa solo se agudiza a pesar de que observamos los sucesos bajo la evidente ironía de sus directores Ospina y Mayolo que nos asegura una cierta improbabilidad frente a la atrocidad palpable, hasta que la irrupción de un personaje, hoy ya mítico, desvela la maquinaria detrás de la película. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Agarrando pueblo es una crítica del cine sobre el cine mismo, es un grito a viva voz que exige un despertar de conciencia y de postura frente a las imágenes que consumimos y a las imágenes que creamos. Para Mayolo y Ospina, quien falleció el pasado 27 de septiembre, aquella mirada frívola hacia las condiciones de marginalidad y subdesarrollo sólo bajo el burdo pretexto de obtener ganancia es y será siempre, despreciable. </div><div></div><div>Ver ahora:</div><iframe width=\"459\" height=\"344\" src=\"https://www.youtube.com/embed/kagX-E9S8B8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Agarrando pueblo (1977)','','inherit','closed','closed','','766-revision-v1','','','2019-12-24 20:29:45','2019-12-24 23:29:45','',766,'http://lapistoladechejov.com/2019/12/24/766-revision-v1/',0,'revision','',0),(904,2,'2019-12-26 09:28:12','2019-12-26 12:28:12','<h2 style=\"font-weight: bold;\">Inexplicable e insufrible.</h2>\nDurante una subasta, el manuscrito original de “Yo el supremo” de Augusto Roa Bastos desaparece justo cuando estaba siendo ofrecido. Desconcertados por lo sucedido, la ganadora Ana Morel, hija del embajador paraguayo en Francia, y el coleccionista (y político) Anton Remianiuk, aguardan algún tipo de información acerca del robo. Aguirre, la asistente fiscal asignada al caso, arriba al lugar de los hechos con numerosas interrogantes, incógnitas que a partir de los primeros minutos de la película nunca se resuelven y se enmarañan en una trama tan confusa que intentar encontrarle algún sentido es tarea inútil.\n\nDirigida por Jorge Díaz de Bedoya y Michael Kovich Jr., El supremo manuscrito (2019) suscita un sin fin de preguntas. ¿Cuál es la injerencia de la figura de Roa Bastos en la búsqueda del manuscrito, o mejor dicho, en qué aporta que sea este manuscrito y no otro objeto? ¿Cómo se conecta la dictadura de Alfredo Stroessner con la trama centrada en la desaparición del original? ¿Cuál es la relación entre los supuestos contrabandistas con una operación militar antidrogas sucedida en un pasado indeterminado, y otra vez, qué tiene que ver esto con el manuscrito? Y, para purgar la trama y reducirla a lo esencial, ¿qué quiere cada personaje?\n\nEl MacGuffin, entendido como un objeto de engaño que hace avanzar la trama pero que al final no tiene relevancia en la historia, es utilizado en el cine de suspenso con frecuencia como excusa perfecta para suscitar acción y reacción en los personajes, donde lo que nos interesa son las dinámicas que se van generando en torno a este objeto misterioso sobre el cual los personajes en pantalla depositan toda su atención. En El supremo manuscrito, el manuscrito es un MacGuffin defectuoso que fracasa en conducir el interés hacia las relaciones de los personajes, porque ni los protagonistas ni los antagonistas son claros en sus motivaciones. Es más, en un intento por sostener este lío, el guión se refugia en diálogos expositivos que fallan en cometer su único objetivo: lograr que el espectador reciba información para comprender la trama.\n\nCuando la historia es indescifrable e irracional, cuando no existe identificación con los personajes que se mueven sin que sepamos hacia dónde, cuando a una premisa sencilla como encontrar algo se le añaden tantas variables inconexas y hasta un nuevo manuscrito, la única solución posible podría ser ofrecer secuencias cargas de acción y espectacularidad para ocultar las notorias falencias de dirección que repercuten en todos los ámbitos. Pero El Supremo manuscrito convierte los diálogos más simples en escenas complejas con un montaje alterno injustificado que resta tensión y genera incomodidad, molestosa como la cámara en mano cuyo uso y abuso, marea y fastidia. Y, paradójicamente, aquellas persecuciones que deberían estar cargas de adrenalina esfuman autos por arte de magia. Mención aparte a los fragmentos sueltos de un soldado, un machete o un portarretrato que como clips ensucian aún más la narración.\n\nTan innecesaria como el lengüetazo en el rostro que recibe Ana (mero morbo de sus autores), El supremo manuscrito (2019) es un lío inextricable donde las conjeturas posibles acerca del paradero del objeto preciado solo pueden contemplarse bajo las indescifrables acciones que van sucediendo una después de la otra, contemplarse porque esta película exige una pasividad única en la comprensión: aceptar lo inexplicable para tolerar lo insufrible.\n\n<iframe src=\"https://www.youtube.com/embed/5exJ2meAU30?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','El supremo manuscrito (2019)','','inherit','closed','closed','','767-revision-v1','','','2019-12-26 09:28:12','2019-12-26 12:28:12','',767,'http://lapistoladechejov.com/2019/12/26/767-revision-v1/',0,'revision','',0),(846,1,'2019-12-24 20:29:46','2019-12-24 23:29:46','<div style=\"font-weight:bold;\"> Inexplicable e insufrible.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_99637cf1abd7473fb743b07989db1eeb~mv2_d_4096_1716_s_2.jpg\" ></div><div></div><div>Durante una subasta, el manuscrito original de “Yo el supremo” de Augusto Roa Bastos desaparece justo cuando estaba siendo ofrecido. Desconcertados por lo sucedido, la ganadora Ana Morel, hija del embajador paraguayo en Francia, y el coleccionista (y político) Anton Remianiuk, aguardan algún tipo de información acerca del robo. Aguirre, la asistente fiscal asignada al caso, arriba al lugar de los hechos con numerosas interrogantes, incógnitas que a partir de los primeros minutos de la película nunca se resuelven y se enmarañan en una trama tan confusa que intentar encontrarle algún sentido es tarea inútil. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Dirigida por Jorge Díaz de Bedoya y Michael Kovich Jr., El supremo manuscrito (2019) suscita un sin fin de preguntas. ¿Cuál es la injerencia de la figura de Roa Bastos en la búsqueda del manuscrito, o mejor dicho, en qué aporta que sea este manuscrito y no otro objeto? ¿Cómo se conecta la dictadura de Alfredo Stroessner con la trama centrada en la desaparición del original? ¿Cuál es la relación entre los supuestos contrabandistas con una operación militar antidrogas sucedida en un pasado indeterminado, y otra vez, qué tiene que ver esto con el manuscrito? Y, para purgar la trama y reducirla a lo esencial, ¿qué quiere cada personaje? </div><div></div><div style=\"font-weight:bold;font-style: italic;\">El MacGuffin, entendido como un objeto de engaño que hace avanzar la trama pero que al final no tiene relevancia en la historia, es utilizado en el cine de suspenso con frecuencia como excusa perfecta para suscitar acción y reacción en los personajes, donde lo que nos interesa son las dinámicas que se van generando en torno a este objeto misterioso sobre el cual los personajes en pantalla depositan toda su atención. En El supremo manuscrito, el manuscrito es un MacGuffin defectuoso que fracasa en conducir el interés hacia las relaciones de los personajes, porque ni los protagonistas ni los antagonistas son claros en sus motivaciones. Es más, en un intento por sostener este lío, el guión se refugia en diálogos expositivos que fallan en cometer su único objetivo: lograr que el espectador reciba información para comprender la trama.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Cuando la historia es indescifrable e irracional, cuando no existe identificación con los personajes que se mueven sin que sepamos hacia dónde, cuando a una premisa sencilla como encontrar algo se le añaden tantas variables inconexas y hasta un nuevo manuscrito, la única solución posible podría ser ofrecer secuencias cargas de acción y espectacularidad para ocultar las notorias falencias de dirección que repercuten en todos los ámbitos. Pero El Supremo manuscrito convierte los diálogos más simples en escenas complejas con un montaje alterno injustificado que resta tensión y genera incomodidad, molestosa como la cámara en mano cuyo uso y abuso, marea y fastidia. Y, paradójicamente, aquellas persecuciones que deberían estar cargas de adrenalina esfuman autos por arte de magia. Mención aparte a los fragmentos sueltos de un soldado, un machete o un portarretrato que como clips ensucian aún más la narración.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Tan innecesaria como el lengüetazo en el rostro que recibe Ana (mero morbo de sus autores), El supremo manuscrito (2019) es un lío inextricable donde las conjeturas posibles acerca del paradero del objeto preciado solo pueden contemplarse bajo las indescifrables acciones que van sucediendo una después de la otra, contemplarse porque esta película exige una pasividad única en la comprensión: aceptar lo inexplicable para tolerar lo insufrible. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/5exJ2meAU30?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','El supremo manuscrito (2019)','','inherit','closed','closed','','767-revision-v1','','','2019-12-24 20:29:46','2019-12-24 23:29:46','',767,'http://lapistoladechejov.com/2019/12/24/767-revision-v1/',0,'revision','',0),(907,2,'2019-12-26 09:31:08','2019-12-26 12:31:08','<h2 style=\"font-weight: bold;\">El dolor del canto.</h2>\nEl dolor de haber sido un país escenario de las guerras del narcotráfico adopta la forma de un lamento en Pájaros de Verano (2019) dirigida por Cristina Gallego y Ciro Guerra. Narrada en 5 cantos que anticipa la transformación de una comunidad y el porvenir de una inminente tragedia, el relato se sitúa a finales de los años ‘60 y abarca un lapso de un poco más de diez años, en un periodo crucial para la historia de Colombia: el comienzo de aquello conocido como “la bonanza marimbera”.\n\nEn el desierto del norte del territorio colombiano, lejos de los blancos y de los alijunas o no indígenas, habitan varias familias pertenecientes a la comunidad de los wayúu. Aún conservan las tradiciones y los valores de sus ancestros, y celebran los ritos de iniciación correspondientes a las distintas etapas de vida de sus miembros. En este contexto, Zaida cumple el mandatorio año de encierro luego de haber tenido su primera menstruación y cuando emerge al exterior ya como mujer, Rapayet clava los ojos en ella. Pero la dote que su madre Úrsula exige no es fácil de conseguir. A pesar de la obvia desaprobación de la matriarca de la familia, Rapayet se involucra en pequeños negocios ilegales hasta que cierra un trato de venta de marihuana con unos norteamericanos instalados en la región para combatir el comunismo. Y así, tanto su familia como otras familias wayúu se enredan en un conflicto sin fin y sin salida.\n\nPájaros de Verano retrata el choque entre mundos opuestos, entre aquellos que hablan dialectos distintos y aquellos que piensan que el resto del mundo habla la misma lengua. Pero más allá del enfrentamiento cultural, es un relato de pérdida de identidad porque las costumbres no son nada frente a las armas, ni pueden impedir la creciente violencia. Cuando la marihuana o la felicidad de un mundo foráneo se vuelve el negocio lucrativo de otros, el dinero solo equivale a poder. En esta nueva dinámica de avionetas y pistas clandestinas, las tumbas son para los rifles, las balas reemplazan las palabras y el honor tiene su precio en kilos.\n\nMediante elipsis temporales, o cortes bruscos de un determinado momento a años después, a los títulos que anuncian el porvenir de cada capítulo, los directores componen con angustia y desconsuelo una sinfonía donde cada canto suena distinto al otro, y cada uno pinta la fotografía de un color distinto, ya sea rojo, negro, o marrón. Las tradiciones de la tribu se entreteje con los negocios, en una puja entre los rituales y la sangre donde la narración prefiere omitir la balacera de los enfrentamientos armados, la deja fuera de campo, o abre el encuadre a un plano general abierto como si buscara marcar una distancia prudente para no convertir la violencia en espectáculo.\n\nPájaros de Verano es un presagio de la atrocidad resultante del narcotráfico que se instalaría en la región, es un grito desesperado que clama el recuerdo de aquellos valores consumidos bajo el fuego de los disparos entre los bandos criminales. Si el viento borra las huellas de la arena y también se lleva los sueños, quizás la tristeza solo pueda recordarse así, a través del canto de un pájaro.\n\n<iframe src=\"https://www.youtube.com/embed/htDO3BpyM-I?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Pájaros de Verano (2019)','','inherit','closed','closed','','768-revision-v1','','','2019-12-26 09:31:08','2019-12-26 12:31:08','',768,'http://lapistoladechejov.com/2019/12/26/768-revision-v1/',0,'revision','',0),(847,1,'2019-12-24 20:29:46','2019-12-24 23:29:46','<div style=\"font-weight:bold;\">El dolor del canto</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_092879c52b9049baa9e7c652a913df18~mv2.jpg\" ></div><div></div><div style=\"font-weight:bold;font-style: italic;\">El dolor de haber sido un país escenario de las guerras del narcotráfico adopta la forma de un lamento en Pájaros de Verano (2019) dirigida por Cristina Gallego y Ciro Guerra. Narrada en 5 cantos que anticipa la transformación de una comunidad y el porvenir de una inminente tragedia, el relato se sitúa a finales de los años ‘60 y abarca un lapso de un poco más de diez años, en un periodo crucial para la historia de Colombia: el comienzo de aquello conocido como “la bonanza marimbera”. </div><div></div><div style=\"font-style: italic;font-style: italic;font-style: italic;\">En el desierto del norte del territorio colombiano, lejos de los blancos y de los alijunas o no indígenas, habitan varias familias pertenecientes a la comunidad de los wayúu. Aún conservan las tradiciones y los valores de sus ancestros, y celebran los ritos de iniciación correspondientes a las distintas etapas de vida de sus miembros. En este contexto, Zaida cumple el mandatorio año de encierro luego de haber tenido su primera menstruación y cuando emerge al exterior ya como mujer, Rapayet clava los ojos en ella. Pero la dote que su madre Úrsula exige no es fácil de conseguir. A pesar de la obvia desaprobación de la matriarca de la familia, Rapayet se involucra en pequeños negocios ilegales hasta que cierra un trato de venta de marihuana con unos norteamericanos instalados en la región para combatir el comunismo. Y así, tanto su familia como otras familias wayúu se enredan en un conflicto sin fin y sin salida. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Pájaros de Verano retrata el choque entre mundos opuestos, entre aquellos que hablan dialectos distintos y aquellos que piensan que el resto del mundo habla la misma lengua. Pero más allá del enfrentamiento cultural, es un relato de pérdida de identidad porque las costumbres no son nada frente a las armas, ni pueden impedir la creciente violencia. Cuando la marihuana o la felicidad de un mundo foráneo se vuelve el negocio lucrativo de otros, el dinero solo equivale a poder. En esta nueva dinámica de avionetas y pistas clandestinas, las tumbas son para los rifles, las balas reemplazan las palabras y el honor tiene su precio en kilos. </div><div></div><div>Mediante elipsis temporales, o cortes bruscos de un determinado momento a años después, a los títulos que anuncian el porvenir de cada capítulo, los directores componen con angustia y desconsuelo una sinfonía donde cada canto suena distinto al otro, y cada uno pinta la fotografía de un color distinto, ya sea rojo, negro, o marrón. Las tradiciones de la tribu se entreteje con los negocios, en una puja entre los rituales y la sangre donde la narración prefiere omitir la balacera de los enfrentamientos armados, la deja fuera de campo, o abre el encuadre a un plano general abierto como si buscara marcar una distancia prudente para no convertir la violencia en espectáculo.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Pájaros de Verano es un presagio de la atrocidad resultante del narcotráfico que se instalaría en la región, es un grito desesperado que clama el recuerdo de aquellos valores consumidos bajo el fuego de los disparos entre los bandos criminales. Si el viento borra las huellas de la arena y también se lleva los sueños, quizás la tristeza solo pueda recordarse así, a través del canto de un pájaro. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/htDO3BpyM-I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Pájaros de Verano (2019)','','inherit','closed','closed','','768-revision-v1','','','2019-12-24 20:29:46','2019-12-24 23:29:46','',768,'http://lapistoladechejov.com/2019/12/24/768-revision-v1/',0,'revision','',0),(912,2,'2019-12-26 09:49:30','2019-12-26 12:49:30','<h2 style=\"font-weight: bold;\">¿Quién es el parásito?</h2>\nEn un sótano a ras del suelo vive una familia. Entre la orina de la calle y los bichos de la basura, ellos habitan un espacio claustrofóbico y alborotado con cajas de cartón que deben armar para subsistir, un curro temporal, mientras buscan un rincón de la casa donde se capta mejor la señal de wifi de la vecina. Cuando las calles del barrio se fumigan, dejan abierta la ventana para aprovechar el servicio “gratis”, a costa del humo tóxico que invade su precario hogar.\n\nPero no todo es miseria en Parasite (2019), la última película del director coreano Bong Joon-ho. Bajo la esperanza de una vida distinta y con mejores oportunidades, subyacen fuertes lazos de apoyo entre los integrantes de la familia. Así, cuando el hijo obtiene un trabajo como instructor de inglés de la hija de una familia adinerada, de poco cada uno va ocupando el cargo de algún empleado de la casa. O más bien, reemplazando.\n\nDecir casa para definir este nuevo escenario queda corto, pues la mansión de la familia adinerada es lo opuesto al de la otra. Amplios espacios minimalistas donde la luz del sol irradia al interior, con escaleras que conducen a niveles aún más altos de la casa ilustra un espacio de abundancia material inalcanzable para nuestro protagonista, pero no menos aspiracional, puesto que la noción de la diferencia de clases es física: existe un nivel superior y uno inferior. Los ricos viven en una colina, los otros, bajo el piso. Los otros se agachan, se arrastran y bajan la cabeza en reverencia; son los empleados que satisfacen las necesidades y caprichos de su empleador, quien puede darse el lujo de dar órdenes. Y es por esto que, irónicamente, nunca ven lo que sucede bajo sus propias narices.\n\nPareciera que ambos mundos por más que se encuentren enfrentados no congenian en un mismo ámbito, y la cámara se encarga de remarcar estas diferencias. Desde la primera toma de las medias colgadas con una particular vista de la vereda de la calle, y un leve paneo al piso para revelar los habitantes de este lugar, se enfatiza un radical contraste entre el arriba espacioso y el abajo frágil y sobrecargado. Quizás sea inofensivo entonces que gracias al ingenio y planificación minuciosa, la familia desempleada logre insertarse en la mansión. Pero el plan maestro no es del todo infalible, y lo que se va sucediendo después es tan imprevisible como funesto.\n\nParasite es una película de clases, que si bien ocurre en un universo diferente, es de fácil relación aquí y en casi todo el mundo, porque todos hemos sido infectados por el sistema capitalista que ha ensanchado groseramente la desigualdad entre uno y otro, peldaños de una escalera infinita que conduce desde los más recónditos inframundos donde no llega el sol a cajas herméticas y asépticas de vidrio y parquet. Lo curioso es la relación de dependencia entre ambas partes y la necesidad de subsistencia simbiótica entre estos unos y otros. ¿Quién vive de quién? ¿Aquel que obedece o aquel que se aprovecha?\n\nPero no son iguales, nunca lo serán. La lluvia puede ser lluvia, aquí y en cualquier parte. Son las condiciones socioeconómicas las que hacen que cada quien la reciba de manera distinta. Para algunos, la tormenta significa al día siguiente un cielo azul limpio de impurezas; para otros, es una desdicha no insuperable, pero si, un limbo transitorio de pérdida. Bong Joon-ho no elige bandos, y en esta postura neutral, se disimula lo abrumador de Parasite, porque por momentos se empatiza con una familia y luego con la otra hasta el punto en que es imposible vaticinar una resolución que no perjudique a otro. Una vez más, es claro que las diferencias no pueden coexistir.\n\nEn Parasite, la brecha existe. Es física, es cinematográfica, es corporal. Es un olor particular que penetra un ambiente y no es bien recibido, porque por primera vez el de arriba baja la mirada ante este intruso. La invisible línea que los divide se ve incapaz de contener el aroma, pero la brecha sigue siendo inmutable, innegable. Lo que comienza siendo una comedia con humor oscuro, culmina en una catastrófica serie de eventos que lejos de adoptar postura escribe una carta de amor que nunca llegará a destino porque el destinatario no existe, es una mera ilusión. El sueño de un mundo mejor libre de parásitos. Pero ¿quién es el parásito?\n\n<iframe src=\"https://www.youtube.com/embed/Uj6KIETXCU4?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Parasite (2019)','','inherit','closed','closed','','769-revision-v1','','','2019-12-26 09:49:30','2019-12-26 12:49:30','',769,'http://lapistoladechejov.com/2019/12/26/769-revision-v1/',0,'revision','',0),(848,1,'2019-12-24 20:29:47','2019-12-24 23:29:47','<div style=\"font-weight:bold;\">¿Quién es el parásito?</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_09c3263b89b34c259b991cc52d97f076~mv2.jpeg\" ></div><div></div><div>En un sótano a ras del suelo vive una familia. Entre la orina de la calle y los bichos de la basura, ellos habitan un espacio claustrofóbico y alborotado con cajas de cartón que deben armar para subsistir, un curro temporal, mientras buscan un rincón de la casa donde se capta mejor la señal de wifi de la vecina. Cuando las calles del barrio se fumigan, dejan abierta la ventana para aprovechar el servicio “gratis”, a costa del humo tóxico que invade su precario hogar. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Pero no todo es miseria en Parasite (2019), la última película del director coreano Bong Joon-ho. Bajo la esperanza de una vida distinta y con mejores oportunidades, subyacen fuertes lazos de apoyo entre los integrantes de la familia. Así, cuando el hijo obtiene un trabajo como instructor de inglés de la hija de una familia adinerada, de poco cada uno va ocupando el cargo de algún empleado de la casa. O más bien, reemplazando. </div><div></div><div>Decir casa para definir este nuevo escenario queda corto, pues la mansión de la familia adinerada es lo opuesto al de la otra. Amplios espacios minimalistas donde la luz del sol irradia al interior, con escaleras que conducen a niveles aún más altos de la casa ilustra un espacio de abundancia material inalcanzable para nuestro protagonista, pero no menos aspiracional, puesto que la noción de la diferencia de clases es física: existe un nivel superior y uno inferior. Los ricos viven en una colina, los otros, bajo el piso. Los otros se agachan, se arrastran y bajan la cabeza en reverencia; son los empleados que satisfacen las necesidades y caprichos de su empleador, quien puede darse el lujo de dar órdenes. Y es por esto que, irónicamente, nunca ven lo que sucede bajo sus propias narices. </div><div></div><div>Pareciera que ambos mundos por más que se encuentren enfrentados no congenian en un mismo ámbito, y la cámara se encarga de remarcar estas diferencias. Desde la primera toma de las medias colgadas con una particular vista de la vereda de la calle, y un leve paneo al piso para revelar los habitantes de este lugar, se enfatiza un radical contraste entre el arriba espacioso y el abajo frágil y sobrecargado. Quizás sea inofensivo entonces que gracias al ingenio y planificación minuciosa, la familia desempleada logre insertarse en la mansión. Pero el plan maestro no es del todo infalible, y lo que se va sucediendo después es tan imprevisible como funesto.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Parasite es una película de clases, que si bien ocurre en un universo diferente, es de fácil relación aquí y en casi todo el mundo, porque todos hemos sido infectados por el sistema capitalista que ha ensanchado groseramente la desigualdad entre uno y otro, peldaños de una escalera infinita que conduce desde los más recónditos inframundos donde no llega el sol a cajas herméticas y asépticas de vidrio y parquet. Lo curioso es la relación de dependencia entre ambas partes y la necesidad de subsistencia simbiótica entre estos unos y otros. ¿Quién vive de quién? ¿Aquel que obedece o aquel que se aprovecha?</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Pero no son iguales, nunca lo serán. La lluvia puede ser lluvia, aquí y en cualquier parte. Son las condiciones socioeconómicas las que hacen que cada quien la reciba de manera distinta. Para algunos, la tormenta significa al día siguiente un cielo azul limpio de impurezas; para otros, es una desdicha no insuperable, pero si, un limbo transitorio de pérdida. Bong Joon-ho no elige bandos, y en esta postura neutral, se disimula lo abrumador de Parasite, porque por momentos se empatiza con una familia y luego con la otra hasta el punto en que es imposible vaticinar una resolución que no perjudique a otro. Una vez más, es claro que las diferencias no pueden coexistir. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">En Parasite, la brecha existe. Es física, es cinematográfica, es corporal. Es un olor particular que penetra un ambiente y no es bien recibido, porque por primera vez el de arriba baja la mirada ante este intruso. La invisible línea que los divide se ve incapaz de contener el aroma, pero la brecha sigue siendo inmutable, innegable. Lo que comienza siendo una comedia con humor oscuro, culmina en una catastrófica serie de eventos que lejos de adoptar postura escribe una carta de amor que nunca llegará a destino porque el destinatario no existe, es una mera ilusión. El sueño de un mundo mejor libre de parásitos. Pero ¿quién es el parásito? </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/Uj6KIETXCU4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Parasite (2019)','','inherit','closed','closed','','769-revision-v1','','','2019-12-24 20:29:47','2019-12-24 23:29:47','',769,'http://lapistoladechejov.com/2019/12/24/769-revision-v1/',0,'revision','',0),(915,2,'2019-12-26 09:53:43','2019-12-26 12:53:43','<h2 style=\"font-weight: bold;\">La absurda culpa.</h2>\nEva vive con su esposo Adrián en una villa colonial española. Ante el mandato social de lo que se espera de la esposa de un diplomático, ella se muestra adaptada a su nueva vida matrimonial: prepara la cena, recibe a los suegros, ordena la casa y pasa el tiempo buscando cualquier tipo entretenimiento ya sea en la televisión o en una botella de vino. Pero las apariencias no pueden ocultar que Eva está aburrida, insatisfecha y tal vez un poco desatendida por un marido que solamente piensa en su ascenso laboral.\n\nEn un intento por escapar del tedio de la rutina, Eva compra un cuadro de una composición y estética bastante particulares, algo fálicas, cuya adición a la casa interfiere con la excesiva imaginería religiosa. Con el cuadro, llega Luis, el artista. Es de esperar que Eva sienta curiosidad hacia él, como también lo es que Adrián los descubra. Dicho y hecho los tres personajes no tardan en confrontarse unos a otros de las maneras más inesperadas.\n\nNarrado en un solo día y en un solo sitio, los personajes juegan en un supuesto triángulo amoroso que raya lo absurdo y descarta los típicos descargues de ira que suscitaría una inminente traición. Supuesto porque Pecado original (2019) no se trata de una pelea por saber quién quedará con quién. Adrián enfrenta un carácter tieso y hermético que le impide conectarse con Eva. Desafía a Luis a un partido de bádminton, pero también lo invita a comer, porque no puede despojarse de sus perfectos modales adquiridos. Luis, motivado por concretar la venta del cuadro, se presta al baile y se enreda en una terapia de pareja disparatada que saca a luz los tabúes del matrimonio, mientras Eva procura desesperadamente encontrar un sentido a la crisis que está atravesando.\n\nPero aquí el foco es Eva. Cansada de vivir para satisfacer unas expectativas instauradas en torno al rol de la esposa y de resultar siempre insuficiente para Adrián y su suegra, busca tomar el control de la situación. Eva no se considera un premio a ser disputado ni tampoco un accesorio incluido en el paquete del “matrimonio perfecto”. Ella quiere poder, algo inusual, no porque sea ella quien lo desea, sino porque siglos de dominación masculina instalaron la idea de que el poder está reservado solo para ellos.\n\nTambién quiere explorar su sexualidad con libertad, experimentar sus deseos y fantasías sin ser juzgada por ello, y mucho menos por su esposo. De nuevo inusual porque el conservadurismo religioso nos ha adoctrinado para sentir pudor de nuestro cuerpo y nuestro sexo.\n\nMás allá de la particular propuesta fotográfica que quiebra con los estándares convencionales de las comedias románticas, quizás en detrimento del género, Pecado Original juega con lo absurdo a través de las situaciones disparatadas que se suceden a la vez que cuestiona las apariencias sociales y la culpa cristiana, en un intento de alterar el orden social establecido. Eva y Adrián no son Eva y Adán.\n\n<iframe src=\"https://www.youtube.com/embed/aUXOpnFPRok?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Pecado Original (2019)','','inherit','closed','closed','','770-revision-v1','','','2019-12-26 09:53:43','2019-12-26 12:53:43','',770,'http://lapistoladechejov.com/2019/12/26/770-revision-v1/',0,'revision','',0),(849,1,'2019-12-24 20:29:47','2019-12-24 23:29:47','<div style=\"font-weight:bold;\">La absurda culpa.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_a0faf3a1928a4906938955c8a6c2d266~mv2.jpg\" ></div><div> </div><div>Eva vive con su esposo Adrián en una villa colonial española. Ante el mandato social de lo que se espera de la esposa de un diplomático, ella se muestra adaptada a su nueva vida matrimonial: prepara la cena, recibe a los suegros, ordena la casa y pasa el tiempo buscando cualquier tipo entretenimiento ya sea en la televisión o en una botella de vino. Pero las apariencias no pueden ocultar que Eva está aburrida, insatisfecha y tal vez un poco desatendida por un marido que solamente piensa en su ascenso laboral. </div><div></div><div>En un intento por escapar del tedio de la rutina, Eva compra un cuadro de una composición y estética bastante particulares, algo fálicas, cuya adición a la casa interfiere con la excesiva imaginería religiosa. Con el cuadro, llega Luis, el artista. Es de esperar que Eva sienta curiosidad hacia él, como también lo es que Adrián los descubra. Dicho y hecho los tres personajes no tardan en confrontarse unos a otros de las maneras más inesperadas.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Narrado en un solo día y en un solo sitio, los personajes juegan en un supuesto triángulo amoroso que raya lo absurdo y descarta los típicos descargues de ira que suscitaría una inminente traición. Supuesto porque Pecado original (2019) no se trata de una pelea por saber quién quedará con quién. Adrián enfrenta un carácter tieso y hermético que le impide conectarse con Eva. Desafía a Luis a un partido de bádminton, pero también lo invita a comer, porque no puede despojarse de sus perfectos modales adquiridos. Luis, motivado por concretar la venta del cuadro, se presta al baile y se enreda en una terapia de pareja disparatada que saca a luz los tabúes del matrimonio, mientras Eva procura desesperadamente encontrar un sentido a la crisis que está atravesando.</div><div></div><div>Pero aquí el foco es Eva. Cansada de vivir para satisfacer unas expectativas instauradas en torno al rol de la esposa y de resultar siempre insuficiente para Adrián y su suegra, busca tomar el control de la situación. Eva no se considera un premio a ser disputado ni tampoco un accesorio incluido en el paquete del “matrimonio perfecto”. Ella quiere poder, algo inusual, no porque sea ella quien lo desea, sino porque siglos de dominación masculina instalaron la idea de que el poder está reservado solo para ellos.</div><div>También quiere explorar su sexualidad con libertad, experimentar sus deseos y fantasías sin ser juzgada por ello, y mucho menos por su esposo. De nuevo inusual porque el conservadurismo religioso nos ha adoctrinado para sentir pudor de nuestro cuerpo y nuestro sexo. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Más allá de la particular propuesta fotográfica que quiebra con los estándares convencionales de las comedias románticas, quizás en detrimento del género, Pecado Original juega con lo absurdo a través de las situaciones disparatadas que se suceden a la vez que cuestiona las apariencias sociales y la culpa cristiana, en un intento de alterar el orden social establecido. Eva y Adrián no son Eva y Adán. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/aUXOpnFPRok?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Pecado Original (2019)','','inherit','closed','closed','','770-revision-v1','','','2019-12-24 20:29:47','2019-12-24 23:29:47','',770,'http://lapistoladechejov.com/2019/12/24/770-revision-v1/',0,'revision','',0),(918,2,'2019-12-26 09:56:51','2019-12-26 12:56:51','<h2 style=\"font-weight: bold;\">Ironía y extravagancia entre los muertos vivientes.</h2>\nLos géneros cinematográficos son categorías que permiten la fácil asociación del espectador con la película según temática y narrativa, una codificación familiar ya conocida que ha sido construida a través del tiempo por la industria del cine. Estas categorías sirven para etiquetar los contenidos de una película, y, en cierta manera, predisponer al espectador a una serie de expectativas en torno al relato, ya sea por el tipo de personaje, los escenarios, el tono, o la trama. Es un contrato con el público que funciona como guía y permite el fácil reconocimiento de los códigos narrativos y temáticos presentes en la película.\n\nEl cine de zombies es considerado como un subgénero de las películas de terror, cuya característica principal es la presencia de los muertos vivientes que acechan y apeligran la vida de los protagonistas. Pero los géneros pueden combinarse o sufrir mutaciones, como ocurre con la última película de Jim Jarmusch titulada Los muertos no mueren del año 2019 en la que el director añade su excentricidad característica a un relato ya conocido.\n\nCuando el eje de la tierra rota, una serie de alteraciones biológicas naturales y fenómenos extraños como rayos lunares tóxicos despiertan a los muertos del cementerio del pueblo de Centerville, Pennsylvania, un lugar tranquilo con una población de apenas setecientas personas que a lo largo de la película se irá reduciendo considerablemente. Los protagonistas de la historia son dos policías, el jefe Cliff Robertson y el oficial Ronnie Petersen quienes patrullan las calles del pueblo y sus lugares icónicos que serán los escenarios de la historia: el motel, el parador, la estación de servicio, la casa funeraria y el centro de detención juvenil.\n\nMientras que Cliff alberga la esperanza que la situación se revierta, Ronnie no para de repetir que todo esto terminará mal. Los demás habitantes son una mezcla particular entre características opuestas; a personajes cotidianos como el granjero, la mesera, el ermitaño, Jarmusch les añade un aderezo de extravagancia único propio de su cine sorprendente. Tenemos así por ejemplo a Zelda, la recién llegada y encargada de la casa funeraria local que prepara los cuerpos como para una fiesta en La Fábrica de Andy Warhol y rebana cabezas con su espada de samurái, o Bobby Wiggins, el chico de la estación de servicio que vende objetos de colección de culto y sabe muy bien cómo matar a los muertos vivientes, fruto de su impresionante cultura cinematográfica.\n\nPero Los muertos no mueren es más comedia que una película de terror. Si bien cada uno de los personajes reacciona de manera diferente frente al fin del mundo, algunos se encierran y otros gritan, ninguno parece tan alterado por el horror de los cuerpos descompuestos. Los rostros impasibles de los policías o de los turistas hipsters se emocionan más cuando escuchan la música Los muertos no mueren de Sturgill Simpson, que frente a la inevitable muerte, pues como bien lo dice Ronnie es el tema principal de la película. El ritmo de la historia parece ceñirse al compás repetitivo y sereno de la melodía, pues la trama no se interesa por hacer avanzar los eventos clave y en la reiteración subyace un humor negro que provoca más risas que sustos.\n\nLos muertos mastican vísceras como si fuera comida chatarra y gravitan en torno a aquello que hacían o que les obsesionaba cuando estaban vivos. Así, ciertos muertos se amontonan frente a la farmacia, otros con celular en mano buscan una mejor señal de wifi y los niños se atiborran de caramelos y carne humana frente a la tienda de dulces. Jarmusch aprovecha el hambre voraz de los zombies para plantear interrogantes sobre aquello que consumimos con tanto fervor y que nos drena de vida pero que al final nunca nos sacia; para él, los muertos vivientes representa a la sociedad de consumo en plena decadencia putrefacta.\n\nLas referencias cinematográficas abundan en la película, como la remera de Nosferatu y los guiños a la figura de George Romero, director considerado como el creador moderno del cine de zombies que se inició con su película La noche de los muertos vivientes del año 1968. Antes de Romero, los zombies eran nada más que personas controladas por un maestro mediante prácticas del vudú; ni estaban muertos, ni comían carne.\n\nEl metacine, entendido como un término que hace referencia al cine dentro del cine, adquiere una nueva dimensión al interactuar de manera indirecta entre el director, los personajes y el espectador. Pero más allá de las referencias e incluso autorreferencias, en Los muertos no mueren existe en los personajes mismos y en la manera en que dicen sus líneas de diálogo una consciencia omnipresente de estar dentro de una película, lo cual quiebra aún más las barreras del género y del propio cine, y, en última instancia, ofrece una recompensa audaz sobre el trágico desenlace.\n\nLa cuarta pared es un concepto que proviene del teatro, donde el actor está rodeado de tres paredes, dos laterales y una trasera, siendo la cuarta la que se establece entre espectador y actor. “Romper la cuarta pared” es una expresión que se utiliza cuando el personaje mira al público, le dirige la palabra o bien le hace cómplice ya que así se rompe aquella ilusión de la realidad ficticia y esa pared imaginaria entre actor y espectador se quiebra. Aquí, Jarmusch desdobla esa barrera, y propone una interacción indirecta que se da entre el director, los personajes y el espectador, y el recurso cómico utilizado para hacerlo es un indicio más de su talento.\n\nJarmusch ha dirigido su propia interpretación del género western con Dead Man de 1995, ha mezclado el hip-hop con gansters y un samurái en Ghost Dog, el camino del samurái de 1999, y también ha relatado el horror propio del género de vampiros pero escondido en lo mundano y en la tristeza con Solo los amantes sobreviven del 2013. El humor de Los muertos no mueren cobra vida con los zombies gracias al ingenio de Jim Jarmusch quien rompe las reglas de los géneros a su voluntad y los conjuga con elementos ajenos para ofrecer un relato imprevisible teñido de rareza y quietud, atípico en las películas de zombies.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/bh1i9YRj0JI?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Los muertos no mueren (2019)','','inherit','closed','closed','','771-revision-v1','','','2019-12-26 09:56:51','2019-12-26 12:56:51','',771,'http://lapistoladechejov.com/2019/12/26/771-revision-v1/',0,'revision','',0),(850,1,'2019-12-24 20:29:48','2019-12-24 23:29:48','<div style=\"font-weight:bold;\">Ironía y extravagancia entre los muertos vivientes.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_0feeef5322864163a7f6e40f45551de1~mv2.jpg\" ></div><div> </div><div>Los géneros cinematográficos son categorías que permiten la fácil asociación del espectador con la película según temática y narrativa, una codificación familiar ya conocida que ha sido construida a través del tiempo por la industria del cine. Estas categorías sirven para etiquetar los contenidos de una película, y, en cierta manera, predisponer al espectador a una serie de expectativas en torno al relato, ya sea por el tipo de personaje, los escenarios, el tono, o la trama. Es un contrato con el público que funciona como guía y permite el fácil reconocimiento de los códigos narrativos y temáticos presentes en la película. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">El cine de zombies es considerado como un subgénero de las películas de terror, cuya característica principal es la presencia de los muertos vivientes que acechan y apeligran la vida de los protagonistas. Pero los géneros pueden combinarse o sufrir mutaciones, como ocurre con la última película de Jim Jarmusch titulada Los muertos no mueren del año 2019 en la que el director añade su excentricidad característica a un relato ya conocido. </div><div></div><div>Cuando el eje de la tierra rota, una serie de alteraciones biológicas naturales y fenómenos extraños como rayos lunares tóxicos despiertan a los muertos del cementerio del pueblo de Centerville, Pennsylvania, un lugar tranquilo con una población de apenas setecientas personas que a lo largo de la película se irá reduciendo considerablemente. Los protagonistas de la historia son dos policías, el jefe Cliff Robertson y el oficial Ronnie Petersen quienes patrullan las calles del pueblo y sus lugares icónicos que serán los escenarios de la historia: el motel, el parador, la estación de servicio, la casa funeraria y el centro de detención juvenil. </div><div></div><div>Mientras que Cliff alberga la esperanza que la situación se revierta, Ronnie no para de repetir que todo esto terminará mal. Los demás habitantes son una mezcla particular entre características opuestas; a personajes cotidianos como el granjero, la mesera, el ermitaño, Jarmusch les añade un aderezo de extravagancia único propio de su cine sorprendente. Tenemos así por ejemplo a Zelda, la recién llegada y encargada de la casa funeraria local que prepara los cuerpos como para una fiesta en La Fábrica de Andy Warhol y rebana cabezas con su espada de samurái, o Bobby Wiggins, el chico de la estación de servicio que vende objetos de colección de culto y sabe muy bien cómo matar a los muertos vivientes, fruto de su impresionante cultura cinematográfica. </div><div></div><div style=\"font-weight:bold;font-style: italic;font-style: italic;\">Pero Los muertos no mueren es más comedia que una película de terror. Si bien cada uno de los personajes reacciona de manera diferente frente al fin del mundo, algunos se encierran y otros gritan, ninguno parece tan alterado por el horror de los cuerpos descompuestos. Los rostros impasibles de los policías o de los turistas hipsters se emocionan más cuando escuchan la música Los muertos no mueren de Sturgill Simpson, que frente a la inevitable muerte, pues como bien lo dice Ronnie es el tema principal de la película. El ritmo de la historia parece ceñirse al compás repetitivo y sereno de la melodía, pues la trama no se interesa por hacer avanzar los eventos clave y en la reiteración subyace un humor negro que provoca más risas que sustos. </div><div></div><div>Los muertos mastican vísceras como si fuera comida chatarra y gravitan en torno a aquello que hacían o que les obsesionaba cuando estaban vivos. Así, ciertos muertos se amontonan frente a la farmacia, otros con celular en mano buscan una mejor señal de wifi y los niños se atiborran de caramelos y carne humana frente a la tienda de dulces. Jarmusch aprovecha el hambre voraz de los zombies para plantear interrogantes sobre aquello que consumimos con tanto fervor y que nos drena de vida pero que al final nunca nos sacia; para él, los muertos vivientes representa a la sociedad de consumo en plena decadencia putrefacta. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Las referencias cinematográficas abundan en la película, como la remera de Nosferatu y los guiños a la figura de George Romero, director considerado como el creador moderno del cine de zombies que se inició con su película La noche de los muertos vivientes del año 1968. Antes de Romero, los zombies eran nada más que personas controladas por un maestro mediante prácticas del vudú; ni estaban muertos, ni comían carne.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">El metacine, entendido como un término que hace referencia al cine dentro del cine, adquiere una nueva dimensión al interactuar de manera indirecta entre el director, los personajes y el espectador. Pero más allá de las referencias e incluso autorreferencias, en Los muertos no mueren existe en los personajes mismos y en la manera en que dicen sus líneas de diálogo una consciencia omnipresente de estar dentro de una película, lo cual quiebra aún más las barreras del género y del propio cine, y, en última instancia, ofrece una recompensa audaz sobre el trágico desenlace.</div><div></div><div>La cuarta pared es un concepto que proviene del teatro, donde el actor está rodeado de tres paredes, dos laterales y una trasera, siendo la cuarta la que se establece entre espectador y actor. “Romper la cuarta pared” es una expresión que se utiliza cuando el personaje mira al público, le dirige la palabra o bien le hace cómplice ya que así se rompe aquella ilusión de la realidad ficticia y esa pared imaginaria entre actor y espectador se quiebra. Aquí, Jarmusch desdobla esa barrera, y propone una interacción indirecta que se da entre el director, los personajes y el espectador, y el recurso cómico utilizado para hacerlo es un indicio más de su talento. </div><div></div><div style=\"font-weight:bold;font-weight:bold;font-weight:bold;font-weight:bold;font-style: italic;font-style: italic;font-style: italic;font-style: italic;\">Jarmusch ha dirigido su propia interpretación del género western con Dead Man de 1995, ha mezclado el hip-hop con gansters y un samurái en Ghost Dog, el camino del samurái de 1999, y también ha relatado el horror propio del género de vampiros pero escondido en lo mundano y en la tristeza con Solo los amantes sobreviven del 2013. El humor de Los muertos no mueren cobra vida con los zombies gracias al ingenio de Jim Jarmusch quien rompe las reglas de los géneros a su voluntad y los conjuga con elementos ajenos para ofrecer un relato imprevisible teñido de rareza y quietud, atípico en las películas de zombies. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/bh1i9YRj0JI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Los muertos no mueren (2019)','','inherit','closed','closed','','771-revision-v1','','','2019-12-24 20:29:48','2019-12-24 23:29:48','',771,'http://lapistoladechejov.com/2019/12/24/771-revision-v1/',0,'revision','',0),(921,2,'2019-12-26 10:00:43','2019-12-26 13:00:43','<h2 style=\"font-weight: bold;\">Delirios complacientes.</h2>\nÉrase una vez una estrella en decadencia que así como el western también había pasado de moda y que luchaba con ajustarse a los nuevos modelos de producción de la industria cinematográfica. Érase una vez un doble de acción que acompañaba a dicho actor en sus andares cotidianos y altibajos emocionales. Y érase una vez una actriz con una carrera en auge que prometía convertirla en un ícono de su generación. Dichos personajes son Rick Dalton, Cliff Booth y Sharon Tate, sí, la misma Sharon Tate asesinada en el año 1969 por miembros de “La Familia” de Charles Manson. Sobre Manson, ya volveremos. Primero, Hollywood.\n\nÉrase una vez en Hollywood, tal como su nombre lo desvela y la reiteración adrede lo evidencia, transita de manera anecdótica por las calles de la era dorada de Hollywood, los grandes estudios de producción y las deslumbrantes salas de cine, mientras afuera en las calles se gestaba el movimiento hippie. Las escasas propuestas laborales que recibe Rick, entre ellas viajar a Italia para restablecer su carrera como actor del género reinventado conocido como spaghetti western, afecta su relación con Cliff, quien más que un doble es un amigo y quizás el único que tiene. Mientras ambos se abren paso entre los sets de filmación y los barrios icónicos de Los Ángeles, vemos a Sharon Tate saboreando los placeres de su incipiente fama. En compañía de su esposo Roman Polanski, asisten a fiestas en la mansión Playboy donde aparecen salpicadas otras celebridades de la época que destellan fugazmente como los infinitos carteles de neón.\n\nEs de esperar que dichos personajes se encuentren y que sus caminos se crucen en algún momento del relato pero Quentin Tarantino es inmune a las expectativas que se generan dentro y fuera de la sala de cine, incluso previo al estreno de la película. Así, Cliff maneja por toda la ciudad, y maneja mucho; Rick se resigna a ser abatido por la nueva cara joven de la televisión, y Sharon, nada más va al cine y sonríe encantada al escuchar las risas de los espectadores que disfrutan la caracterización del personaje de su última película. Sucesos fortuitos y encuentros casuales, y un sinfín de referencias cinematográficas y autorreferencias a su propio cine plagan un cóctel de todo aquello que ha influenciado su carrera.\n\nLas atrocidades cometidas por el clan Manson pueden borrarse de la historia con el cine, pueden permitir idear un quizás alternativo, un mundo paralelo donde el tiempo se transmuta aunque sea por un instante. Tarantino no es ajeno a las posibilidades de tergiversación de la historia, ni niega el disfrute que puede provocar asesinar a Hitler. Y es aquí donde la película se convierte en otra. Sin concordancia ni justificación alguna, el relato se adelanta unos meses para llegar al 9 de agosto de 1969, la noche del brutal asesinato, como si lo demás fuera solo la antesala de lo que vendrá a suceder. Mientras Sharon, embarazada de ocho meses y medio, disfruta una velada tranquila en compañía de sus amigos más queridos, su vecino Cliff y Rick ahogan las penas de su despedida con alcohol y un cigarrillo mojado en ácido. Lo que sucede después es una secuencia violenta al más puro estilo Tarantino: autocomplaciente y delirante.\n\nPorque Érase una vez de Hollywood es, por sobre todo, el capricho de un director como Tarantino quien a esta altura de su carrera puede darse el lujo de idear fantasías fetichistas con pies, traseros (femeninos, obvio) y sangre, y ser celebrado por ello. Tarantino prolonga el chiste por casi tres horas, para ofrecer de recompensa o castigo una violencia tan explícita que suscita el hartazgo. ¿No repudiamos acaso la brutalidad de los asesinatos del clan? La pregunta que resta es saber si estamos dispuestos o no a ser cómplices voyeristas de sus antojos. En este caso, no.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/3wQC2b7zvIw?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Érase una vez en Hollywood (2019)','','inherit','closed','closed','','772-revision-v1','','','2019-12-26 10:00:43','2019-12-26 13:00:43','',772,'http://lapistoladechejov.com/2019/12/26/772-revision-v1/',0,'revision','',0),(851,1,'2019-12-24 20:29:49','2019-12-24 23:29:49','<div style=\"font-weight:bold;\">Delirios complacientes.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_fd9ac874ba904e56b7b8fdff796a2b03~mv2.jpg\" ></div><div></div><div> </div><div>Érase una vez una estrella en decadencia que así como el western también había pasado de moda y que luchaba con ajustarse a los nuevos modelos de producción de la industria cinematográfica. Érase una vez un doble de acción que acompañaba a dicho actor en sus andares cotidianos y altibajos emocionales. Y érase una vez una actriz con una carrera en auge que prometía convertirla en un ícono de su generación. Dichos personajes son Rick Dalton, Cliff Booth y Sharon Tate, sí, la misma Sharon Tate asesinada en el año 1969 por miembros de “La Familia” de Charles Manson. Sobre Manson, ya volveremos. Primero, Hollywood. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Érase una vez en Hollywood, tal como su nombre lo desvela y la reiteración adrede lo evidencia, transita de manera anecdótica por las calles de la era dorada de Hollywood, los grandes estudios de producción y las deslumbrantes salas de cine, mientras afuera en las calles se gestaba el movimiento hippie. Las escasas propuestas laborales que recibe Rick, entre ellas viajar a Italia para restablecer su carrera como actor del género reinventado conocido como spaghetti western, afecta su relación con Cliff, quien más que un doble es un amigo y quizás el único que tiene. Mientras ambos se abren paso entre los sets de filmación y los barrios icónicos de Los Ángeles, vemos a Sharon Tate saboreando los placeres de su incipiente fama. En compañía de su esposo Roman Polanski, asisten a fiestas en la mansión Playboy donde aparecen salpicadas otras celebridades de la época que destellan fugazmente como los infinitos carteles de neón. </div><div></div><div>Es de esperar que dichos personajes se encuentren y que sus caminos se crucen en algún momento del relato pero Quentin Tarantino es inmune a las expectativas que se generan dentro y fuera de la sala de cine, incluso previo al estreno de la película. Así, Cliff maneja por toda la ciudad, y maneja mucho; Rick se resigna a ser abatido por la nueva cara joven de la televisión, y Sharon, nada más va al cine y sonríe encantada al escuchar las risas de los espectadores que disfrutan la caracterización del personaje de su última película. Sucesos fortuitos y encuentros casuales, y un sinfín de referencias cinematográficas y autorreferencias a su propio cine plagan un cóctel de todo aquello que ha influenciado su carrera.</div><div></div><div>Las atrocidades cometidas por el clan Manson pueden borrarse de la historia con el cine, pueden permitir idear un quizás alternativo, un mundo paralelo donde el tiempo se transmuta aunque sea por un instante. Tarantino no es ajeno a las posibilidades de tergiversación de la historia, ni niega el disfrute que puede provocar asesinar a Hitler. Y es aquí donde la película se convierte en otra. Sin concordancia ni justificación alguna, el relato se adelanta unos meses para llegar al 9 de agosto de 1969, la noche del brutal asesinato, como si lo demás fuera solo la antesala de lo que vendrá a suceder. Mientras Sharon, embarazada de ocho meses y medio, disfruta una velada tranquila en compañía de sus amigos más queridos, su vecino Cliff y Rick ahogan las penas de su despedida con alcohol y un cigarrillo mojado en ácido. Lo que sucede después es una secuencia violenta al más puro estilo Tarantino: autocomplaciente y delirante. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Porque Érase una vez de Hollywood es, por sobre todo, el capricho de un director como Tarantino quien a esta altura de su carrera puede darse el lujo de idear fantasías fetichistas con pies, traseros (femeninos, obvio) y sangre, y ser celebrado por ello. Tarantino prolonga el chiste por casi tres horas, para ofrecer de recompensa o castigo una violencia tan explícita que suscita el hartazgo. ¿No repudiamos acaso la brutalidad de los asesinatos del clan? La pregunta que resta es saber si estamos dispuestos o no a ser cómplices voyeristas de sus antojos. En este caso, no. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/3wQC2b7zvIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Érase una vez en Hollywood (2019)','','inherit','closed','closed','','772-revision-v1','','','2019-12-24 20:29:49','2019-12-24 23:29:49','',772,'http://lapistoladechejov.com/2019/12/24/772-revision-v1/',0,'revision','',0),(924,2,'2019-12-26 10:04:55','2019-12-26 13:04:55','<h2 style=\"font-weight: bold;\">Cuando el susto es efímero.</h2>\nEl gran maestro del suspenso Alfred Hitchcock, cuyas películas hasta hoy en día no han envejecido, establecía una clara diferencia entre el suspenso y el susto. El susto, efectivo, directo, pero fugaz; el suspenso, tormentoso, agobiante, una angustia manipulada a gusto por el director y prolongada por el tiempo que él mismo deseara. El susto puede llegar a un sobresalto, pero en contrapartida, tan pronto como llega, se desvanece. El suspenso puede aferrarte a la silla en espera del instante catalítico que palie la tensión acumulada. Una efectiva combinación de ambas, dosificadas en menor o mayor medida, da como resultado el amplio género de terror, destinado a producir miedo en el espectador.\n\nMorgue narra la historia de Diego, un guardia de seguridad, que tras un accidente traumático, es llamado a relevar el turno nocturno en el Hospital de Emergencias. Pero hay un cuerpo en la morgue cuya presencia posee directa relación con Diego y, a medida que va pasando la noche, sucesos paranormales lo encierran junto al cadáver.\n\nLa premisa cautiva y atrae. ¿Cómo lidia el protagonista con la culpa? ¿Qué hace para sobrevivir la noche de sus pesadillas? Más allá del repetitivo tiempo destinado a introducir el personaje en su dimensión social, que dicho sea de paso no confluye en la resolución de la historia, el problema reside en las interrogantes que se generan y las consecuentes respuestas que pretenden dar una explicación a veces muy rápido y otra veces, de carácter insatisfactorio e inextricable. Por momentos, Diego es inmutable a las presencias paranormales que le acosan; al percibir un ser arrinconado sobre el gabinete de su oficina, una vez superado el susto de la situación, regresa a sus labores de la misma manera que cuando nota que la guampa se mueve sola, nada más la tira y vuelve a vigilar pantallas de seguridad. Porque el susto, como hemos explicado, es efímero.\n\nCuando Diego queda atrapado en la morgue, una seguidilla de sobresaltos agotan con velocidad las posibilidades de conducir el personaje a la locura. En vez de dilatar la tensión al máximo hasta llegar al clímax, recurre a personajes que rellenan con acciones el espacio y el tiempo, en detrimento del aspecto tenebroso inherente al lugar. Y es aquí donde las preguntas se suman, y las respuestas se ignoran.\n\nMorgue posee los ingredientes puntuales para una efectiva película de terror: miedo, susto y suspenso, y hasta un trasfondo de culpa y redención. La falla deriva en la dosificación de dichos elementos, y en la desarticulación gradual que va en aumento a lo largo de la estructura narrativa. Por más que la puesta en escena y el manejo de cámara responde con efectividad a las convenciones del género en una fotografía que incomoda, que anticipa, y que construye el miedo, el uso reiterativo de los mismos recursos (las llamadas a los celulares, la luz que parpadea, las ventanas que se abren y cierran de golpe) diluye el vigor de la premisa. Quizás el encierro llegó muy pronto, siendo que afuera existían aún elementos para explotar la trama, quizás el encierro delimitó un espacio malgastado. Lo cierto es que al final un remate directo y sencillo cae enredado sobre sí mismo.\n\nDel epílogo, no se hace mención, ya que el mensaje moralista sobreimpreso en la pantalla es absolutamente innecesario, al igual que la escena post epílogo descriptiva que puntualiza la relación de la muerte con la morgue. ¿Un poco obvio, no?\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/65DaSkcQBOU?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Morgue (2019)','','inherit','closed','closed','','773-revision-v1','','','2019-12-26 10:04:55','2019-12-26 13:04:55','',773,'http://lapistoladechejov.com/2019/12/26/773-revision-v1/',0,'revision','',0),(852,1,'2019-12-24 20:29:49','2019-12-24 23:29:49','<div style=\"font-weight:bold;\">Cuando el susto es efímero.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_898e3479f49d4e50a69f5dad1294e93e~mv2.png\" ></div><div></div><div> </div><div>El gran maestro del suspenso Alfred Hitchcock, cuyas películas hasta hoy en día no han envejecido, establecía una clara diferencia entre el suspenso y el susto. El susto, efectivo, directo, pero fugaz; el suspenso, tormentoso, agobiante, una angustia manipulada a gusto por el director y prolongada por el tiempo que él mismo deseara. El susto puede llegar a un sobresalto, pero en contrapartida, tan pronto como llega, se desvanece. El suspenso puede aferrarte a la silla en espera del instante catalítico que palie la tensión acumulada. Una efectiva combinación de ambas, dosificadas en menor o mayor medida, da como resultado el amplio género de terror, destinado a producir miedo en el espectador.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Morgue narra la historia de Diego, un guardia de seguridad, que tras un accidente traumático, es llamado a relevar el turno nocturno en el Hospital de Emergencias. Pero hay un cuerpo en la morgue cuya presencia posee directa relación con Diego y, a medida que va pasando la noche, sucesos paranormales lo encierran junto al cadáver. </div><div></div><div>La premisa cautiva y atrae. ¿Cómo lidia el protagonista con la culpa? ¿Qué hace para sobrevivir la noche de sus pesadillas? Más allá del repetitivo tiempo destinado a introducir el personaje en su dimensión social, que dicho sea de paso no confluye en la resolución de la historia, el problema reside en las interrogantes que se generan y las consecuentes respuestas que pretenden dar una explicación a veces muy rápido y otra veces, de carácter insatisfactorio e inextricable. Por momentos, Diego es inmutable a las presencias paranormales que le acosan; al percibir un ser arrinconado sobre el gabinete de su oficina, una vez superado el susto de la situación, regresa a sus labores de la misma manera que cuando nota que la guampa se mueve sola, nada más la tira y vuelve a vigilar pantallas de seguridad. Porque el susto, como hemos explicado, es efímero. </div><div></div><div>Cuando Diego queda atrapado en la morgue, una seguidilla de sobresaltos agotan con velocidad las posibilidades de conducir el personaje a la locura. En vez de dilatar la tensión al máximo hasta llegar al clímax, recurre a personajes que rellenan con acciones el espacio y el tiempo, en detrimento del aspecto tenebroso inherente al lugar. Y es aquí donde las preguntas se suman, y las respuestas se ignoran. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Morgue posee los ingredientes puntuales para una efectiva película de terror: miedo, susto y suspenso, y hasta un trasfondo de culpa y redención. La falla deriva en la dosificación de dichos elementos, y en la desarticulación gradual que va en aumento a lo largo de la estructura narrativa. Por más que la puesta en escena y el manejo de cámara responde con efectividad a las convenciones del género en una fotografía que incomoda, que anticipa, y que construye el miedo, el uso reiterativo de los mismos recursos (las llamadas a los celulares, la luz que parpadea, las ventanas que se abren y cierran de golpe) diluye el vigor de la premisa. Quizás el encierro llegó muy pronto, siendo que afuera existían aún elementos para explotar la trama, quizás el encierro delimitó un espacio malgastado. Lo cierto es que al final un remate directo y sencillo cae enredado sobre sí mismo. </div><div></div><div>Del epílogo, no se hace mención, ya que el mensaje moralista sobreimpreso en la pantalla es absolutamente innecesario, al igual que la escena post epílogo descriptiva que puntualiza la relación de la muerte con la morgue. ¿Un poco obvio, no?</div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/65DaSkcQBOU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Morgue (2019)','','inherit','closed','closed','','773-revision-v1','','','2019-12-24 20:29:49','2019-12-24 23:29:49','',773,'http://lapistoladechejov.com/2019/12/24/773-revision-v1/',0,'revision','',0),(971,2,'2019-12-27 09:37:30','2019-12-27 12:37:30','<h2 style=\"font-weight: bold;\">En offside.</h2>\nEl personaje zonzo, pero con suerte, vuelve a las pantallas del cine paraguayo. Esta vez, se llama Rafa, un despensero que tras un error de su hermano, se entera que la despensa de su familia ha sido hipotecada, y, como no tiene abogado, recurre a un actor para que le enseñe a ser el mejor abogado. ¿Por qué? Porque quizás sea más fácil fingir ser otra persona, porque quizás sus habilidades como actor puedan salvarlo de la deuda (no me preguntes cómo), o quizás porque es la fórmula de auto proyección más absurda, un metepatas o un payaso, o quizás porque la historia de Orsai no tiene ni pies ni cabeza.\n\nOjo, se llama Orsai en referencia a la posición fuera de juego, pero no es una película de fútbol, salvo contadas escenas gratuitas en una cancha, o la innecesaria toma aérea de un estadio vacío y tres bombas que estallan a lo lejos. Pero es imposible hablar de la trama sin tener que revelar todo, porque cada cosa que sucede es tan inconexa con la otra que por la mitad de la película es aún difícil comprender hacia dónde se dirige la historia.\n\nLo cierto es que en medio del proceso legal, Rafa conoce a Claudia, una abogada capacitada pero reducida por los hombres que la rodean a sus meras apariencias físicas. Rafa olvida la deuda y entabla una relación con ella a pesar de que alientan a clubes distintos. ¿Cuál es la injerencia del fanatismo futbolístico en esta historia? Ninguna, porque así como la película navega entre abogados y payasos, cabos sueltos abundan: el chico fichado por su hermano que se muda a vivir con ellos cuando debe abandonar el club porque padece de un síndrome caracterizado por la desorientación derecha-izquierda; el hermano que cae siempre en negocios fallidos; y, un séquito de personajes circenses que se materializan cada tanto. Y cómo olvidar del ladrón que irrumpe una cena romántica solo para que Rafa pueda (por accidente) salvar la velada y pasar la noche con Claudia. ¿Quién come sus postres así?\n\nLos supuestos giros en la historia se dan a través del diálogo. Me atrevería a decir que se habla más de lo que sucede; son infinitas las escenas con el juez donde se repiten una y otra vez las mismas palabras en diversas formas: papeles, documentos, acuerdo. Una vez más, limitemos a las mujeres que solo buscan un hombre “caballeroso”, que les compren flores y abran la puerta del auto.\n\nEs que nadie está libre de mofas en Orsai. Desde el chico con discapacidad a la vecina que no pronuncia bien las erres, del nerd con anteojos que babea al hablar a la hermana interesada solo en trivialidades, los estereotipos derrochan de la pantalla, incomodan, y, lo peor de todo, es que causa risas en los espectadores. Dale, sigamos con las burlas, porque es más fácil menospreciar y reírse de aquello que es diferente que tolerar nuestras propias diferencias o respetar al otro.\n\nMención especial al personaje de Bernardo. Ya no estamos en los años ‘90 donde el alivio cómico de las películas del género se valían de un personaje masculino amanerado para provocar las risas, porque bajo las burlas se esconde la construcción de un estereotipo confinado de hombre homosexual. Los chistes con doble sentido no hacen más que cementar y reforzar un constructo limitado, a la vez que permite denigrar al otro.\n\nCuando hoy existe un movimiento mundial que intenta erradicar la violencia en el fútbol, la cena familiar de los Caballero y los Samimbi desemboca en una aparente pelea física cuando se descubre que en una misma mesa están sentados fanáticos olimpistas y cerristas. Un confuso corte a negro revela una herida en la frente de la abogada. ¿Qué sucedió ahí? No sabemos, pero sí podemos afirmar que hubo violencia.\n\nLo más terrible llega al final, en un gesto fortuito, que sucede otra vez en diálogo, cuando la madre de Rafa llama a Claudia y soluciona los problemas como si nuestro personaje fuera un niño incapaz de enfrentar por sí solo las consecuencias de sus propias acciones. Repito, no es una película de fútbol. Tampoco es una película de deudas y demandas. Y menos aún, es una película para niños, a no ser de que quieras explicarle por qué es simpático reírse de alguien que tiene discapacidades o es diferente por la razón que sea. En definitiva, Orsai queda en completo offside. Costumbrismo no es denigrar al otro.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/ZPzjacTB5K8?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Orsai (2019)','','inherit','closed','closed','','774-revision-v1','','','2019-12-27 09:37:30','2019-12-27 12:37:30','',774,'http://lapistoladechejov.com/2019/12/27/774-revision-v1/',0,'revision','',0),(853,1,'2019-12-24 20:29:50','2019-12-24 23:29:50','<div style=\"font-weight:bold;\">En offside.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_cf7583f911ea402ca439ddd1c300806f~mv2.png\" ></div><div></div><div>El personaje zonzo, pero con suerte, vuelve a las pantallas del cine paraguayo. Esta vez, se llama Rafa, un despensero que tras un error de su hermano, se entera que la despensa de su familia ha sido hipotecada, y, como no tiene abogado, recurre a un actor para que le enseñe a ser el mejor abogado. ¿Por qué? Porque quizás sea más fácil fingir ser otra persona, porque quizás sus habilidades como actor puedan salvarlo de la deuda (no me preguntes cómo), o quizás porque es la fórmula de auto proyección más absurda, un metepatas o un payaso, o quizás porque la historia de Orsai no tiene ni pies ni cabeza.</div><div></div><div>Ojo, se llama Orsai en referencia a la posición fuera de juego, pero no es una película de fútbol, salvo contadas escenas gratuitas en una cancha, o la innecesaria toma aérea de un estadio vacío y tres bombas que estallan a lo lejos. Pero es imposible hablar de la trama sin tener que revelar todo, porque cada cosa que sucede es tan inconexa con la otra que por la mitad de la película es aún difícil comprender hacia dónde se dirige la historia. </div><div></div><div>Lo cierto es que en medio del proceso legal, Rafa conoce a Claudia, una abogada capacitada pero reducida por los hombres que la rodean a sus meras apariencias físicas. Rafa olvida la deuda y entabla una relación con ella a pesar de que alientan a clubes distintos. ¿Cuál es la injerencia del fanatismo futbolístico en esta historia? Ninguna, porque así como la película navega entre abogados y payasos, cabos sueltos abundan: el chico fichado por su hermano que se muda a vivir con ellos cuando debe abandonar el club porque padece de un síndrome caracterizado por la desorientación derecha-izquierda; el hermano que cae siempre en negocios fallidos; y, un séquito de personajes circenses que se materializan cada tanto. Y cómo olvidar del ladrón que irrumpe una cena romántica solo para que Rafa pueda (por accidente) salvar la velada y pasar la noche con Claudia. ¿Quién come sus postres así? </div><div></div><div>Los supuestos giros en la historia se dan a través del diálogo. Me atrevería a decir que se habla más de lo que sucede; son infinitas las escenas con el juez donde se repiten una y otra vez las mismas palabras en diversas formas: papeles, documentos, acuerdo. Una vez más, limitemos a las mujeres que solo buscan un hombre “caballeroso”, que les compren flores y abran la puerta del auto.</div><div></div><div>Es que nadie está libre de mofas en Orsai. Desde el chico con discapacidad a la vecina que no pronuncia bien las erres, del nerd con anteojos que babea al hablar a la hermana interesada solo en trivialidades, los estereotipos derrochan de la pantalla, incomodan, y, lo peor de todo, es que causa risas en los espectadores. Dale, sigamos con las burlas, porque es más fácil menospreciar y reírse de aquello que es diferente que tolerar nuestras propias diferencias o respetar al otro. </div><div></div><div>Mención especial al personaje de Bernardo. Ya no estamos en los años ‘90 donde el alivio cómico de las películas del género se valían de un personaje masculino amanerado para provocar las risas, porque bajo las burlas se esconde la construcción de un estereotipo confinado de hombre homosexual. Los chistes con doble sentido no hacen más que cementar y reforzar un constructo limitado, a la vez que permite denigrar al otro.</div><div></div><div>Cuando hoy existe un movimiento mundial que intenta erradicar la violencia en el fútbol, la cena familiar de los Caballero y los Samimbi desemboca en una aparente pelea física cuando se descubre que en una misma mesa están sentados fanáticos olimpistas y cerristas. Un confuso corte a negro revela una herida en la frente de la abogada. ¿Qué sucedió ahí? No sabemos, pero sí podemos afirmar que hubo violencia.</div><div></div><div>Lo más terrible llega al final, en un gesto fortuito, que sucede otra vez en diálogo, cuando la madre de Rafa llama a Claudia y soluciona los problemas como si nuestro personaje fuera un niño incapaz de enfrentar por sí solo las consecuencias de sus propias acciones. Repito, no es una película de fútbol. Tampoco es una película de deudas y demandas. Y menos aún, es una película para niños, a no ser de que quieras explicarle por qué es simpático reírse de alguien que tiene discapacidades o es diferente por la razón que sea. En definitiva, Orsai queda en completo offside. Costumbrismo no es denigrar al otro. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/ZPzjacTB5K8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Orsai (2019)','','inherit','closed','closed','','774-revision-v1','','','2019-12-24 20:29:50','2019-12-24 23:29:50','',774,'http://lapistoladechejov.com/2019/12/24/774-revision-v1/',0,'revision','',0),(974,2,'2019-12-27 09:40:02','2019-12-27 12:40:02','<h2 style=\"font-weight: bold;\">Tras códigos ocultos y mensajes subliminales.</h2>\nSam está seguro que la cultura popular y los medios masivos de comunicación están plagados de códigos ocultos, una fuerza superior que más que determinar los gustos y las tendencias de consumo del mundo moderno, entraña un mensaje subliminal. Él pasa su tiempo entre videojuegos y cómics, mientras espía a sus vecinos desde el balcón de su departamento. No trabaja, ni parece estar interesado en hacerlo, quizás en un acto de rebeldía pasiva de mantenerse al margen del sistema.\n\nHasta que conoce a Sarah, su nueva vecina. Pero tan rápido como Sam y Sarah entablan una relación, ella desaparece al día siguiente sin dejar rastros; solo un símbolo extraño pintado en la pared y una caja de preciados ítems personales podrían conducir a ella. Sam se embarca entonces en la búsqueda del paradero de Sarah, a la par que las noticias locales advierten la presencia de un asesino de perros que ronda el barrio. Referencias abundan, y pistas encriptadas se esconden en los lugares donde transita Sam, submundos juveniles de alucinógenos y conciertos en cavernas donde una generación intenta encontrar su voz en el mundo. Del disco del grupo musical del momento a una caja de cereal con un mapa, las huellas del posible paradero de Sarah guían una investigación anti climática en túneles subterráneos tras el rastro de personajes crípticos, como el rey vagabundo o el compositor maestro. Anti climático porque resolución no hay, y lo que parece ser una pista, nada más levanta un sin fin de preguntas. Pero es aquí donde la radica la singularidad de Under the Silver Lake, en su carácter circunstancial y pesimista.\n\nEl ambiente misterioso y distorsionado de la fotografía de la película, con lentes que deforman los rostros, construye un enigma más amplio que la desaparición de actrices emergentes de Hollywood, o la repentina muerte de un magnate, en un tono oscuro y enervante que sostiene la incertidumbre hasta el último momento. Personajes irreales se materializan de las páginas de un fanzine, y sueños surreales se impregnan con ladridos perrunos y vísceras desparramadas. Quizás todo esté conectado, quizás no. Pero para Sam, es una conspiración a resolver, más importante que pagar el alquiler o recuperar su auto.\n\nNo son necesarias las explicaciones en este film; cuando todo está tan deglutido a una frase imperativa (comprá, llevá, aprovechá) la rareza persiste en las múltiples capas de interpretación que se desprende de los escenarios, sus personajes y sus diálogos irónicos. Y así como nunca se sabe lo que grita el loro de la vecina hippie de Sam, el desconcierto no se extingue con los créditos finales, tal vez un deseo nuestro de creer en las teorías conspirativas que podrían dar un sentido a la monotonía moderna y capitalista de trabajar todo el año para ganar los doce días de vacaciones anuales, un grito de desamor a la era que nos toca vivir. Porque lo que descubre Sam por el camino a veces oculta un mensaje, o a veces explota con la facilidad con la que un alfiler revienta un globo. Lo cierto es que el mundo absurdo y cautivante que ha construido David Robert Mitchell despierta lecturas sobre lo grotesco y lo descabellado, donde no encontrar sentido exige un nuevo sentido. Un verdadero purgatorio. A disfrutar la estadía.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/6N3RbM2oV94?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Under the Silver Lake (2018)','','inherit','closed','closed','','775-revision-v1','','','2019-12-27 09:40:02','2019-12-27 12:40:02','',775,'http://lapistoladechejov.com/2019/12/27/775-revision-v1/',0,'revision','',0),(854,1,'2019-12-24 20:29:51','2019-12-24 23:29:51','<div style=\"font-weight:bold;\">Tras códigos ocultos y mensajes subliminales.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_41809f9d47fd421f8b87ccc761947272~mv2.jpg\" ></div><div></div><div>Sam está seguro que la cultura popular y los medios masivos de comunicación están plagados de códigos ocultos, una fuerza superior que más que determinar los gustos y las tendencias de consumo del mundo moderno, entraña un mensaje subliminal. Él pasa su tiempo entre videojuegos y cómics, mientras espía a sus vecinos desde el balcón de su departamento. No trabaja, ni parece estar interesado en hacerlo, quizás en un acto de rebeldía pasiva de mantenerse al margen del sistema.</div><div></div><div style=\"font-weight:bold;font-style: italic;\">Hasta que conoce a Sarah, su nueva vecina. Pero tan rápido como Sam y Sarah entablan una relación, ella desaparece al día siguiente sin dejar rastros; solo un símbolo extraño pintado en la pared y una caja de preciados ítems personales podrían conducir a ella. Sam se embarca entonces en la búsqueda del paradero de Sarah, a la par que las noticias locales advierten la presencia de un asesino de perros que ronda el barrio. Referencias abundan, y pistas encriptadas se esconden en los lugares donde transita Sam, submundos juveniles de alucinógenos y conciertos en cavernas donde una generación intenta encontrar su voz en el mundo. Del disco del grupo musical del momento a una caja de cereal con un mapa, las huellas del posible paradero de Sarah guían una investigación anti climática en túneles subterráneos tras el rastro de personajes crípticos, como el rey vagabundo o el compositor maestro. Anti climático porque resolución no hay, y lo que parece ser una pista, nada más levanta un sin fin de preguntas. Pero es aquí donde la radica la singularidad de Under the Silver Lake, en su carácter circunstancial y pesimista.</div><div></div><div>El ambiente misterioso y distorsionado de la fotografía de la película, con lentes que deforman los rostros, construye un enigma más amplio que la desaparición de actrices emergentes de Hollywood, o la repentina muerte de un magnate, en un tono oscuro y enervante que sostiene la incertidumbre hasta el último momento. Personajes irreales se materializan de las páginas de un fanzine, y sueños surreales se impregnan con ladridos perrunos y vísceras desparramadas. Quizás todo esté conectado, quizás no. Pero para Sam, es una conspiración a resolver, más importante que pagar el alquiler o recuperar su auto. </div><div></div><div>No son necesarias las explicaciones en este film; cuando todo está tan deglutido a una frase imperativa (comprá, llevá, aprovechá) la rareza persiste en las múltiples capas de interpretación que se desprende de los escenarios, sus personajes y sus diálogos irónicos. Y así como nunca se sabe lo que grita el loro de la vecina hippie de Sam, el desconcierto no se extingue con los créditos finales, tal vez un deseo nuestro de creer en las teorías conspirativas que podrían dar un sentido a la monotonía moderna y capitalista de trabajar todo el año para ganar los doce días de vacaciones anuales, un grito de desamor a la era que nos toca vivir. Porque lo que descubre Sam por el camino a veces oculta un mensaje, o a veces explota con la facilidad con la que un alfiler revienta un globo. Lo cierto es que el mundo absurdo y cautivante que ha construido David Robert Mitchell despierta lecturas sobre lo grotesco y lo descabellado, donde no encontrar sentido exige un nuevo sentido. Un verdadero purgatorio. A disfrutar la estadía. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/6N3RbM2oV94?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Under the Silver Lake (2018)','','inherit','closed','closed','','775-revision-v1','','','2019-12-24 20:29:51','2019-12-24 23:29:51','',775,'http://lapistoladechejov.com/2019/12/24/775-revision-v1/',0,'revision','',0),(976,2,'2019-12-27 09:42:48','2019-12-27 12:42:48','<h2 style=\"font-weight: bold;\">Arte para ser libre.</h2>\nCésar ya murió y la película abre con la secuencia final de la obra de teatro Julio César. Bruto, incapaz de soportar el peso de sus acciones, ni mucho menos matarse, pide ayuda a uno de sus aliados para quitarse la vida y se abalanza sobre una espada. Su cuerpo inmóvil yace en el escenario, hasta que de pronto se levanta y hace una reverencia al público. Aplausos, sonrisas y abrazos. Parece un escenario como cualquier otro, pero pasado el saludo final, unos guardias suben a la tarima para escoltar a los actores. Estamos en una cárcel, y en la cárcel, desaparece el color de la fotografía.\n\nCon andar pesado y resignación sobre los hombros, los tres protagonistas que encararon a los personajes de Casio, Bruto y César regresan a su celda. Aún no sabemos quienes son. Aún desconocemos lo que han hecho, pero de igual manera es posible sentirse enclaustrado por los fríos muros de hormigón y puertas de hierro que cierran con llave la sentencia de cada prisionero.\n\nEste es solo el inicio de Cesare deve morire (2013). Estamos en Rebibbia, una prisión de máxima seguridad en Roma, donde un grupo de reos se prepara para llevar a las tablas la obra de William Shakespeare. Entre ellos, asesinos, traficantes y miembros de clanes mafiosos o de crímenes organizados. El relato se quiebra para volver al inicio de la producción de la obra con la llegada del director de teatro que conduce el casting necesario para seleccionar a los personajes. Y sobre los papeles asignados por el director, la condena asignada a ellos: veinte, treinta, cuarenta años, o incluso cadena perpetua. Pero el libreto de la obra por un instante pierde entre sus hojas el tiempo que les resta a cada uno.\n\nLos hermanos Taviani registran cada instante de la producción desde el ensayo de las primeras lecturas del diálogo hasta la puesta en escena de la obra de teatro en un gesto cinematográfico que lejos de ser teatral, desdobla los barrotes de la ficción y la realidad. Pues existe una obra, sí, pero existe también la prisión y los hombres dentro de ella. Y existe una cámara que se aproxima a los personajes y transmuta el escenario de la prisión a las calles de la Antigua Roma. Decir que es un documental sería negar la ficción entramada en la historia. Decir que es ficción, sería negar el carácter real de cada uno de los hombres encerrados ahí.\n\nAsí como la ficción se inmiscuye con la realidad, la obra intercede en la cotidianidad de los prisioneros, quienes viven sus propios conflictos personales a través de sus personajes. A la vez, disputas irrumpen el parlamento y se solucionan en un proceso de representación casi terapéutico con dialectos italianos y bajo la curiosa mirada de los guardias, breves elementos que por fugaces destellos nos recuerdan dónde estamos. El discurso de Marco Antonio sobre el cadáver de Julio César con los convictos abarrotados sobre las ventanas de sus celdas transcurrió no en el patio de la cárcel, ni en el escenario de un teatro, porque el arte aquí excede al teatro y al cine: es libertad, emancipación e imaginación.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/aTmwTuHyTxg?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Cesare deve morire (2013)','','inherit','closed','closed','','776-revision-v1','','','2019-12-27 09:42:48','2019-12-27 12:42:48','',776,'http://lapistoladechejov.com/2019/12/27/776-revision-v1/',0,'revision','',0),(855,1,'2019-12-24 20:29:51','2019-12-24 23:29:51','<div style=\"font-weight:bold;\"> Arte para ser libre.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_e367ace87fef4aba801990a9c348df0d~mv2_d_3499_1831_s_2.jpg\" ></div><div></div><div> César ya murió y la película abre con la secuencia final de la obra de teatro Julio César. Bruto, incapaz de soportar el peso de sus acciones, ni mucho menos matarse, pide ayuda a uno de sus aliados para quitarse la vida y se abalanza sobre una espada. Su cuerpo inmóvil yace en el escenario, hasta que de pronto se levanta y hace una reverencia al público. Aplausos, sonrisas y abrazos. Parece un escenario como cualquier otro, pero pasado el saludo final, unos guardias suben a la tarima para escoltar a los actores. Estamos en una cárcel, y en la cárcel, desaparece el color de la fotografía. </div><div></div><div>Con andar pesado y resignación sobre los hombros, los tres protagonistas que encararon a los personajes de Casio, Bruto y César regresan a su celda. Aún no sabemos quienes son. Aún desconocemos lo que han hecho, pero de igual manera es posible sentirse enclaustrado por los fríos muros de hormigón y puertas de hierro que cierran con llave la sentencia de cada prisionero. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">Este es solo el inicio de Cesare deve morire (2013). Estamos en Rebibbia, una prisión de máxima seguridad en Roma, donde un grupo de reos se prepara para llevar a las tablas la obra de William Shakespeare. Entre ellos, asesinos, traficantes y miembros de clanes mafiosos o de crímenes organizados. El relato se quiebra para volver al inicio de la producción de la obra con la llegada del director de teatro que conduce el casting necesario para seleccionar a los personajes. Y sobre los papeles asignados por el director, la condena asignada a ellos: veinte, treinta, cuarenta años, o incluso cadena perpetua. Pero el libreto de la obra por un instante pierde entre sus hojas el tiempo que les resta a cada uno. </div><div></div><div>Los hermanos Taviani registran cada instante de la producción desde el ensayo de las primeras lecturas del diálogo hasta la puesta en escena de la obra de teatro en un gesto cinematográfico que lejos de ser teatral, desdobla los barrotes de la ficción y la realidad. Pues existe una obra, sí, pero existe también la prisión y los hombres dentro de ella. Y existe una cámara que se aproxima a los personajes y transmuta el escenario de la prisión a las calles de la Antigua Roma. Decir que es un documental sería negar la ficción entramada en la historia. Decir que es ficción, sería negar el carácter real de cada uno de los hombres encerrados ahí. </div><div></div><div>Así como la ficción se inmiscuye con la realidad, la obra intercede en la cotidianidad de los prisioneros, quienes viven sus propios conflictos personales a través de sus personajes. A la vez, disputas irrumpen el parlamento y se solucionan en un proceso de representación casi terapéutico con dialectos italianos y bajo la curiosa mirada de los guardias, breves elementos que por fugaces destellos nos recuerdan dónde estamos. El discurso de Marco Antonio sobre el cadáver de Julio César con los convictos abarrotados sobre las ventanas de sus celdas transcurrió no en el patio de la cárcel, ni en el escenario de un teatro, porque el arte aquí excede al teatro y al cine: es libertad, emancipación e imaginación.</div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/aTmwTuHyTxg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Cesare deve morire (2013)','','inherit','closed','closed','','776-revision-v1','','','2019-12-24 20:29:51','2019-12-24 23:29:51','',776,'http://lapistoladechejov.com/2019/12/24/776-revision-v1/',0,'revision','',0),(978,2,'2019-12-27 09:45:29','2019-12-27 12:45:29','<h2 style=\"font-weight: bold;\">Contra los nazis, humor irreverente e indecente.</h2>\nEn plena ocupación Nazi, un grupo de actores de teatro se ven enredados en una misión de para encontrar a un espía alemán infiltrado que llega a Polonia a entregar información peligrosa para los soldados de la resistencia. Entre los actores, está la pareja conformada por Maria Tura y Joseph Tura, quien se considera el mejor actor polaco de todos los tiempos.\n\nLa película inicia con una secuencia de Hitler deambulando las calles de Varsovia como si el país fuera suyo. Pero aún no lo es, y Hitler es solo un actor disfrazado que busca convencer al director que puede ofrecer una actuación memorable. Cuando la función de teatro cancela la obra satírica por motivos políticos (estamos aún en los momentos previos a la ocupación), el ensamble de teatro pone en puesta Hamlet. Durante las líneas más icónicas de la obra de Shakespeare, el Teniente Sobinski se levanta en pleno monólogo para visitar a Maria Tura en su camerino. El ego de Joseph está por el suelo, y Maria, cansada de la atención que él recibe constantemente intenta consolarlo. Y aquí, con las sirenas de alerta, llega la Segunda Guerra Mundial, atroz, brutal y con olor a muerte. Cuando el Teniente descubre que el profesor Siletsky es un espía, una serie de malentendidos se suceden uno detrás de otro hasta que queda en manos del grupo de actores infiltrar la Gestapo.\n\nQuizás tres meses después de Pearl Harbor no sea el momento apropiado para estrenar la película, ¿pero cuándo lo es? La Segunda Guerra Mundial horrorizó al mundo, y lo sigue haciendo hasta ahora. Pero la genialidad de Ernst Lubitsch satiriza con humor sagaz y atrevido este periodo oscuro de nuestra historia, que para él estaba sucediendo y lo estaba viendo con sus propios ojos. Hay que decir que en ese momento el triunfo de Hitler era aún posible. ¿Absurda y de mal gusto? Para nada, todo lo contrario, pues Lubitsch se burla de los nazis (y de su ideología) con humor negro inteligente y punzante que libera carcajadas sobre las ruinas de la ciudad en llamas. ¿Indecente? Sí. ¿Irreverente? Sí, pues la comedia de Lubitsch ilustra a unos nazis brutos y tontos, ciegos que seguían la figura ridícula también de Hitler. Cuando Joseph Tura se disfraza del Coronel Ehrhardt y luego del Profesor Siletsky, resulta tan cómico cómo ninguno de los soldados nazis se de cuenta de tan sobreactuado actor y hasta ilustra la vulnerabilidad y torpeza de los nazis.\n\nUn homenaje al teatro, la historia, con tantos giros narrativos como saludos de “Heil Hitler”, mezcla además la ficción con la realidad, la puesta en escena con la misión, como la fotografía de Hitler colgada en el teatro, que para el director era más realista que el actor que había posado para dicha foto.\n\nTo be or not to be es una comedia negra, un drama, un thriller, un melodrama, todo mezclado en la dosis perfecta que solo Lubitsch y el guionista Edwin Justus Mayer pudieron lograr. Tan inolvidable como la línea “Así que me llaman Ehrhardt Campo de Concentración?” (o me atrevo a decir que cualquier línea de diálogo si vamos al caso), bajo las risas yace una fuerte crítica a la guerra y el rol que Lubitsch optó interpretar a viva voz en dicho contexto.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/7W_B10VbYjI?feature=oembed\" width=\"459\" height=\"344\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','To be or not to be (1942)','','inherit','closed','closed','','777-revision-v1','','','2019-12-27 09:45:29','2019-12-27 12:45:29','',777,'http://lapistoladechejov.com/2019/12/27/777-revision-v1/',0,'revision','',0),(856,1,'2019-12-24 20:29:52','2019-12-24 23:29:52','<div style=\"font-weight:bold;\">Contra los nazis, humor irreverente e indecente.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_94befd33abea40e0a7b5b8742e3dcc73~mv2.jpg\" ></div><div></div><div>En plena ocupación Nazi, un grupo de actores de teatro se ven enredados en una misión de para encontrar a un espía alemán infiltrado que llega a Polonia a entregar información peligrosa para los soldados de la resistencia. Entre los actores, está la pareja conformada por Maria Tura y Joseph Tura, quien se considera el mejor actor polaco de todos los tiempos. </div><div></div><div>La película inicia con una secuencia de Hitler deambulando las calles de Varsovia como si el país fuera suyo. Pero aún no lo es, y Hitler es solo un actor disfrazado que busca convencer al director que puede ofrecer una actuación memorable. Cuando la función de teatro cancela la obra satírica por motivos políticos (estamos aún en los momentos previos a la ocupación), el ensamble de teatro pone en puesta Hamlet. Durante las líneas más icónicas de la obra de Shakespeare, el Teniente Sobinski se levanta en pleno monólogo para visitar a Maria Tura en su camerino. El ego de Joseph está por el suelo, y Maria, cansada de la atención que él recibe constantemente intenta consolarlo. Y aquí, con las sirenas de alerta, llega la Segunda Guerra Mundial, atroz, brutal y con olor a muerte. Cuando el Teniente descubre que el profesor Siletsky es un espía, una serie de malentendidos se suceden uno detrás de otro hasta que queda en manos del grupo de actores infiltrar la Gestapo. </div><div></div><div>Quizás tres meses después de Pearl Harbor no sea el momento apropiado para estrenar la película, ¿pero cuándo lo es? La Segunda Guerra Mundial horrorizó al mundo, y lo sigue haciendo hasta ahora. Pero la genialidad de Ernst Lubitsch satiriza con humor sagaz y atrevido este periodo oscuro de nuestra historia, que para él estaba sucediendo y lo estaba viendo con sus propios ojos. Hay que decir que en ese momento el triunfo de Hitler era aún posible. ¿Absurda y de mal gusto? Para nada, todo lo contrario, pues Lubitsch se burla de los nazis (y de su ideología) con humor negro inteligente y punzante que libera carcajadas sobre las ruinas de la ciudad en llamas. ¿Indecente? Sí. ¿Irreverente? Sí, pues la comedia de Lubitsch ilustra a unos nazis brutos y tontos, ciegos que seguían la figura ridícula también de Hitler. Cuando Joseph Tura se disfraza del Coronel Ehrhardt y luego del Profesor Siletsky, resulta tan cómico cómo ninguno de los soldados nazis se de cuenta de tan sobreactuado actor y hasta ilustra la vulnerabilidad y torpeza de los nazis.</div><div></div><div>Un homenaje al teatro, la historia, con tantos giros narrativos como saludos de “Heil Hitler”, mezcla además la ficción con la realidad, la puesta en escena con la misión, como la fotografía de Hitler colgada en el teatro, que para el director era más realista que el actor que había posado para dicha foto. </div><div></div><div style=\"font-weight:bold;font-style: italic;\">To be or not to be es una comedia negra, un drama, un thriller, un melodrama, todo mezclado en la dosis perfecta que solo Lubitsch y el guionista Edwin Justus Mayer pudieron lograr. Tan inolvidable como la línea “Así que me llaman Ehrhardt Campo de Concentración?” (o me atrevo a decir que cualquier línea de diálogo si vamos al caso), bajo las risas yace una fuerte crítica a la guerra y el rol que Lubitsch optó interpretar a viva voz en dicho contexto. </div><div></div><iframe width=\"459\" height=\"344\" src=\"https://www.youtube.com/embed/7W_B10VbYjI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','To be or not to be (1942)','','inherit','closed','closed','','777-revision-v1','','','2019-12-24 20:29:52','2019-12-24 23:29:52','',777,'http://lapistoladechejov.com/2019/12/24/777-revision-v1/',0,'revision','',0),(980,2,'2019-12-27 09:47:32','2019-12-27 12:47:32','<h2 style=\"font-weight: bold;\">Amor colorido e intrépido.</h2>\nEn un país donde la homosexualidad es ilegal (sí, hay de esos todavía, hasta incluso países donde se puede morir por ser gay), Wanuri Kahiu se atreve a dirigir Rafiki (2019), una historia de amor entre dos adolescentes. La película ha sido el primer largometraje de Kenia en ser exhibido en festival de Cannes, pero aún así fue prohibida en su país de origen por un “claro intento de promover el lesbianismo contrario a los valores dominantes del país”. ¿Suena familiar?\n\nSin embargo, luego de una larga demanda a las autoridades para poder estrenar la película, Rafiki llega a las salas de cine de Nairobi y rompe el récord de taquilla del país, superando la demanda esperada. ¿Curiosidad? ¿Morbo? ¿Miedo? ¿O un paso para discutir y luego abolir la sentencia de 14 años en prisión por tener relaciones con una persona del mismo sexo? Lo cierto es que Rafiki, cuyo nombre significa “amigo” en swahli, es un relato conocido de amor prohibido que en su contexto social se destaca por encima de la narrativa.\n\nKena deambula las calles del barrio en su patineta mientras espera los resultados de los exámenes de admisión a un posible oficio de enfermera. Su padre maneja una pequeña tienda que le permite estar en contacto con los clientes y votantes, y su madre busca consuelo en la Biblia mientras intenta superar la reciente separación marital. Al margen, Kena pasa los días en compañía de Blacksta y sus amigos jugando futbol o en la despensa de Mama Atim, la señora chismosa del barrio. Pero al otro lado de la calle está Ziki, la hija del rival político del padre de Kena quien despierta en ella algo más que curiosidad. Cuando se miran, los ojos punzantes de Ziki traspasa los afiches de propaganda política, y desafía el muro cementado de aquello considerado normal por las personas a su alrededor.\n\nA pesar que su amistad es desaprobada por ambas familias, Kena y Ziki encuentran refugio en una van abandonada o en la terraza de un edificio donde lejos del mundo pueden ser ellas mismas, y pueden atrever a enamorarse. Afuera, el futuro para ambas chicas es claro: buscar un marido con quien casarse (con preferencia, uno de clase social posicionada) cocinar, tener hijos y ser una buena esposa. Pero el amor que nace en ellas abre una posible brecha, y en nosotros, un rayo de esperanza. Y lo hace en un gesto minúsculo, pero no menos ponente sino todo lo contrario. El relato cierra el plano en los detalles más íntimos, las manos que se encuentran, la piel que roza los labios, la torpeza del primer beso cargado de energía y color, porque afuera el miedo y la incertidumbre hostil pueden sucumbir con una simple mirada, o, fuera de la pantalla, con una película como esta.\n\nLo que sucede después no es sorpresa, pero sí dolor, pues nos habíamos sumergido en aquellas conversaciones idílicas donde las ropas tendidas al sol cegaban con su calor. Aún así, Kahiu ofrece un mensaje de valentía, y de cómplice silencio en los lugares menos esperados. Es reconfortante y gratificante saber, por encima de la ingenuidad, que el amor puede contra la religión, la familia y la sociedad, aquellos pilares quísticos del conservadurismo que en Kenia, en Paraguay y en otros países del mundo aún nos anclan.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/7M_-ucSaFpU?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Rafiki (2019)','','inherit','closed','closed','','778-revision-v1','','','2019-12-27 09:47:32','2019-12-27 12:47:32','',778,'http://lapistoladechejov.com/2019/12/27/778-revision-v1/',0,'revision','',0),(857,1,'2019-12-24 20:29:52','2019-12-24 23:29:52','<div style=\"font-weight:bold;\">Amor colorido e intrépido.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_e58bb4502c3f49a5958324d7beed87d6~mv2.jpg\" ></div><div></div><div>En un país donde la homosexualidad es ilegal (sí, hay de esos todavía, hasta incluso países donde se puede morir por ser gay), Wanuri Kahiu se atreve a dirigir Rafiki (2019), una historia de amor entre dos adolescentes. La película ha sido el primer largometraje de Kenia en ser exhibido en festival de Cannes, pero aún así fue prohibida en su país de origen por un “claro intento de promover el lesbianismo contrario a los valores dominantes del país”. ¿Suena familiar? </div><div></div><div>Sin embargo, luego de una larga demanda a las autoridades para poder estrenar la película, Rafiki llega a las salas de cine de Nairobi y rompe el récord de taquilla del país, superando la demanda esperada. ¿Curiosidad? ¿Morbo? ¿Miedo? ¿O un paso para discutir y luego abolir la sentencia de 14 años en prisión por tener relaciones con una persona del mismo sexo? Lo cierto es que Rafiki, cuyo nombre significa “amigo” en swahli, es un relato conocido de amor prohibido que en su contexto social se destaca por encima de la narrativa. </div><div></div><div>Kena deambula las calles del barrio en su patineta mientras espera los resultados de los exámenes de admisión a un posible oficio de enfermera. Su padre maneja una pequeña tienda que le permite estar en contacto con los clientes y votantes, y su madre busca consuelo en la Biblia mientras intenta superar la reciente separación marital. Al margen, Kena pasa los días en compañía de Blacksta y sus amigos jugando futbol o en la despensa de Mama Atim, la señora chismosa del barrio. Pero al otro lado de la calle está Ziki, la hija del rival político del padre de Kena quien despierta en ella algo más que curiosidad. Cuando se miran, los ojos punzantes de Ziki traspasa los afiches de propaganda política, y desafía el muro cementado de aquello considerado normal por las personas a su alrededor.</div><div></div><div>A pesar que su amistad es desaprobada por ambas familias, Kena y Ziki encuentran refugio en una van abandonada o en la terraza de un edificio donde lejos del mundo pueden ser ellas mismas, y pueden atrever a enamorarse. Afuera, el futuro para ambas chicas es claro: buscar un marido con quien casarse (con preferencia, uno de clase social posicionada) cocinar, tener hijos y ser una buena esposa. Pero el amor que nace en ellas abre una posible brecha, y en nosotros, un rayo de esperanza. Y lo hace en un gesto minúsculo, pero no menos ponente sino todo lo contrario. El relato cierra el plano en los detalles más íntimos, las manos que se encuentran, la piel que roza los labios, la torpeza del primer beso cargado de energía y color, porque afuera el miedo y la incertidumbre hostil pueden sucumbir con una simple mirada, o, fuera de la pantalla, con una película como esta. </div><div></div><div>Lo que sucede después no es sorpresa, pero sí dolor, pues nos habíamos sumergido en aquellas conversaciones idílicas donde las ropas tendidas al sol cegaban con su calor. Aún así, Kahiu ofrece un mensaje de valentía, y de cómplice silencio en los lugares menos esperados. Es reconfortante y gratificante saber, por encima de la ingenuidad, que el amor puede contra la religión, la familia y la sociedad, aquellos pilares quísticos del conservadurismo que en Kenia, en Paraguay y en otros países del mundo aún nos anclan. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/7M_-ucSaFpU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Rafiki (2019)','','inherit','closed','closed','','778-revision-v1','','','2019-12-24 20:29:52','2019-12-24 23:29:52','',778,'http://lapistoladechejov.com/2019/12/24/778-revision-v1/',0,'revision','',0); INSERT INTO `wp_lpdc_posts` VALUES (982,2,'2019-12-27 09:50:32','2019-12-27 12:50:32','<h2 style=\"font-weight: bold;\">La agonía del pasado.</h2>\nLa agonía del pasado pesa sobre el cuerpo de Salvador Mallo, un director de cine en pleno declive físico y emocional. Salvador es Pedro Almodóvar, o más bien Antonio Banderas interpreta a Salvador en la última película de Almodóvar, que quizás sea la más autorreferencial hasta ahora.\n\nDolor y Gloria es una película de angustia y de amor: amor al cine y amor al tiempo, y amor al dolor. Estilizada al más puro estilo almodovariano (si tal palabra existiese), el rojo intenso pinta la fotografía con pasión y tormento, con diálogos dulces que punzan el alma. El malestar físico que siente Salvador lo ha impedido disfrutar hasta de su propia casa; se ve obligado a pasar largas noches sumido en la oscuridad preso del insomnio producto del dolor que lo acosa. Nada de gloria para un director exitoso. Al menos, por el momento, solo soledad. Y confinamiento.\n\nPero la Filmoteca Española ha decidido reestrenar una de sus primeras películas, y la excusa de este estreno sumado al casual encuentro con una vieja amiga (un cameo de Cecilia Roth) desencadena una serie de hechos fortuitos en la vida de Salvador. Se conecta así, por casualidad, con Alberto, el actor protagónico de “Sabor” con quien no había hablado hace más de treinta años. Como si nada, la amistad entre ambos se retoma, bajo el pretexto del evento de presentación de su película. Y es, a raíz de este encuentro, que Salvador conoce la heroína.\n\nLa heroína a su vez conduce a Alberto a la computadora de Salvador, donde encuentra un escrito titulado “Adicción” sobre la infancia de Salvador y su relación conflictiva con un gran amor, hace ya varios años cuando se iniciaba como director de cine. Alberto se enamora del texto, muy a pesar de Salvador quien lo había escrito en un arrebato terapéutico y no con fines de llevarlo a la pantalla. Pero este escrito marca el regreso del actor al teatro, bajo una obra biográfica anónima que provoca una lluvia de lágrimas en los ojos de los espectadores, y de uno en particular. Y las casualidades siguen, se ramifican y vuelven, en un ir y venir bajo el sol febril de Paterna, el pueblo de infancia de Salvador, y cócteles de pastillas antidepresivas mezcladas con yogurt.\n\nPorque el pasado y el presente se descubren y reencuentran; así como un sueño se inmiscuye dentro del otro, el pasado se entierra en el presente, y una película esconde otra bajo el zurcido invisible del relato reflexivo del director. ¿De Salvador? Sí, también, pero aquí nos referimos a Almodóvar, quien visita sus temas predilectos con una madurez contemplativa y reflexiva. No juzga, observa y transita. Se sumerge al agua y renace, se arrodilla sobre un almohadón para buscar respuestas en la cajita de madera donde disimula su adicción, como rezando al Dios que no cree o dice creer en momentos de desconsuelo total.\n\nAlmodóvar habla de sí mismo, se ilustra, se expone. La relación maternal, la religión, el despertar sexual conforman las aristas de un todo, un director que mira atrás resguardado bajo el lente de sol de un doble imaginario, pero no así menos sensible. Habla de la amistad, de la pasión, del amor. De la infancia y de la madurez. Habla de su vida, para hablar de la vida.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/uJu7FAIdeyQ?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Dolor y Gloria (2019)','','inherit','closed','closed','','779-revision-v1','','','2019-12-27 09:50:32','2019-12-27 12:50:32','',779,'http://lapistoladechejov.com/2019/12/27/779-revision-v1/',0,'revision','',0),(858,1,'2019-12-24 20:29:53','2019-12-24 23:29:53','<div style=\"font-weight:bold;\">La agonía del pasado.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_ef02751ae2724121ae56c711a8475604~mv2.jpg\" ></div><div></div><div>La agonía del pasado pesa sobre el cuerpo de Salvador Mallo, un director de cine en pleno declive físico y emocional. Salvador es Pedro Almodóvar, o más bien Antonio Banderas interpreta a Salvador en la última película de Almodóvar, que quizás sea la más autorreferencial hasta ahora. </div><div></div><div style=\"font-style: italic;\">Dolor y Gloria es una película de angustia y de amor: amor al cine y amor al tiempo, y amor al dolor. Estilizada al más puro estilo almodovariano (si tal palabra existiese), el rojo intenso pinta la fotografía con pasión y tormento, con diálogos dulces que punzan el alma. El malestar físico que siente Salvador lo ha impedido disfrutar hasta de su propia casa; se ve obligado a pasar largas noches sumido en la oscuridad preso del insomnio producto del dolor que lo acosa. Nada de gloria para un director exitoso. Al menos, por el momento, solo soledad. Y confinamiento. </div><div></div><div>Pero la Filmoteca Española ha decidido reestrenar una de sus primeras películas, y la excusa de este estreno sumado al casual encuentro con una vieja amiga (un cameo de Cecilia Roth) desencadena una serie de hechos fortuitos en la vida de Salvador. Se conecta así, por casualidad, con Alberto, el actor protagónico de “Sabor” con quien no había hablado hace más de treinta años. Como si nada, la amistad entre ambos se retoma, bajo el pretexto del evento de presentación de su película. Y es, a raíz de este encuentro, que Salvador conoce la heroína. </div><div></div><div>La heroína a su vez conduce a Alberto a la computadora de Salvador, donde encuentra un escrito titulado “Adicción” sobre la infancia de Salvador y su relación conflictiva con un gran amor, hace ya varios años cuando se iniciaba como director de cine. Alberto se enamora del texto, muy a pesar de Salvador quien lo había escrito en un arrebato terapéutico y no con fines de llevarlo a la pantalla. Pero este escrito marca el regreso del actor al teatro, bajo una obra biográfica anónima que provoca una lluvia de lágrimas en los ojos de los espectadores, y de uno en particular. Y las casualidades siguen, se ramifican y vuelven, en un ir y venir bajo el sol febril de Paterna, el pueblo de infancia de Salvador, y cócteles de pastillas antidepresivas mezcladas con yogurt. </div><div></div><div>Porque el pasado y el presente se descubren y reencuentran; así como un sueño se inmiscuye dentro del otro, el pasado se entierra en el presente, y una película esconde otra bajo el zurcido invisible del relato reflexivo del director. ¿De Salvador? Sí, también, pero aquí nos referimos a Almodóvar, quien visita sus temas predilectos con una madurez contemplativa y reflexiva. No juzga, observa y transita. Se sumerge al agua y renace, se arrodilla sobre un almohadón para buscar respuestas en la cajita de madera donde disimula su adicción, como rezando al Dios que no cree o dice creer en momentos de desconsuelo total.</div><div></div><div>Almodóvar habla de sí mismo, se ilustra, se expone. La relación maternal, la religión, el despertar sexual conforman las aristas de un todo, un director que mira atrás resguardado bajo el lente de sol de un doble imaginario, pero no así menos sensible. Habla de la amistad, de la pasión, del amor. De la infancia y de la madurez. Habla de su vida, para hablar de la vida. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/uJu7FAIdeyQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Dolor y Gloria (2019)','','inherit','closed','closed','','779-revision-v1','','','2019-12-24 20:29:53','2019-12-24 23:29:53','',779,'http://lapistoladechejov.com/2019/12/24/779-revision-v1/',0,'revision','',0),(985,2,'2019-12-27 09:56:23','2019-12-27 12:56:23','<h2 style=\"font-weight: bold;\">Descubrimiento y redención en un drama familiar.</h2>\nRyota, un arquitecto obsesivo, trabaja día y noche. Los sacrificios que hace Ryota en pos de proveer lo mejor para su familia lo priva sin que se de cuenta de quizás lo más importante, tiempo. Es que hace ya varios años que apenas dispone de momentos libres para pasar con Midori, su esposa, y Keita, su hijo; siempre hay algún proyecto grande que acapara hasta sus fines de semana. Pero la promesa incumplida de estar más libre persiste ante la paciente espera y comprensión de su esposa, pero tanto ella como nosotros sabemos que eso no va a pasar.\n\nEstructurado y disciplinado, Ryota defiende los sacrificios de hoy para un mejor futuro, y busca inculcar estos valores estrictos a Keita, dejando que la madre, como él mismo lo afirma, “se encargue de malcriarlo”. Muy a pesar suyo, Keita es un niño tímido y relajado, pero astuto, ya que es capaz de mentir a los profesores en la entrevista de admisión para no evidenciar la ausencia de su padre. Aún así, Keita siente nada más que admiración y devoción hacia su papá, y hasta toca el piano sólo para hacerlo feliz. El niño observa a su papá a través de la lente de la cámara, y captura fugaces destellos en los que Ryota baja la guardia y sonríe. Pero la rutina familiar se ve alterada cuando un test de sangre revela que Keita no es el hijo biológico de la pareja, ya que en el hospital fue cambiado por otro niño.\n\nLa noticia deja en shock a la joven pareja. No existe una solución sencilla al problema, ni un manual sobre qué hacer en estos casos. Ambas familias afectadas se ven enfrentadas a tomar una decisión, a la par que encaran un juicio al hospital para averiguar lo que sucedió y demandar por daños y perjuicios. Pero la recompensa monetaria es lo de menos. Midori no deja de culparse por no haber reconocido a su hijo, mientras que Ryota atribuye aquellas cualidades de carácter defectuoso que observa en Keita a que él no es su hijo de sangre. Para colmo, las familias no podían ser más distintas. Los Saiki provienen de una clase social muy distinta, y siempre llegan tarde a cualquier cita o reunión. Yudai, el papá de Ryusei, se las arregla vendiendo insumos de ferretería y plomería en una pequeña tienda montada al lado de una modesta casa, en contraste con el moderno departamento lujoso de los Nonomiya.\n\nLa familia, un tema no ajeno a la filmografía de Hirokazu Koreeda, vuelve a ser contemplada pero esta vez con un enfoque particular hacia la paternidad. La premisa de la historia podría sugerir un drama intenso y desgarrador, pero la sutileza del director guía a sus personajes en un camino de descubrimiento personal y aceptación donde no existen culpables. Hasta la enfermera que cambió a los niños despierta compasión, en un relato que contempla los pequeños detalles que enriquecen las relaciones familiares, a la par que observa la transformación lenta y gradual del padre.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/8H1Otrv1VKM?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','De tal padre, tal hijo (2013)','','inherit','closed','closed','','780-revision-v1','','','2019-12-27 09:56:23','2019-12-27 12:56:23','',780,'http://lapistoladechejov.com/2019/12/27/780-revision-v1/',0,'revision','',0),(859,1,'2019-12-24 20:29:53','2019-12-24 23:29:53','<div style=\"font-weight:bold;\">Descubrimiento y redención en un drama familiar.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_90bff59f2d8e410c8f6d7da3256b5329~mv2.jpg\" ></div><div></div><div>Ryota, un arquitecto obsesivo, trabaja día y noche. Los sacrificios que hace Ryota en pos de proveer lo mejor para su familia lo priva sin que se de cuenta de quizás lo más importante, tiempo. Es que hace ya varios años que apenas dispone de momentos libres para pasar con Midori, su esposa, y Keita, su hijo; siempre hay algún proyecto grande que acapara hasta sus fines de semana. Pero la promesa incumplida de estar más libre persiste ante la paciente espera y comprensión de su esposa, pero tanto ella como nosotros sabemos que eso no va a pasar. </div><div></div><div>Estructurado y disciplinado, Ryota defiende los sacrificios de hoy para un mejor futuro, y busca inculcar estos valores estrictos a Keita, dejando que la madre, como él mismo lo afirma, “se encargue de malcriarlo”. Muy a pesar suyo, Keita es un niño tímido y relajado, pero astuto, ya que es capaz de mentir a los profesores en la entrevista de admisión para no evidenciar la ausencia de su padre. Aún así, Keita siente nada más que admiración y devoción hacia su papá, y hasta toca el piano sólo para hacerlo feliz. El niño observa a su papá a través de la lente de la cámara, y captura fugaces destellos en los que Ryota baja la guardia y sonríe. Pero la rutina familiar se ve alterada cuando un test de sangre revela que Keita no es el hijo biológico de la pareja, ya que en el hospital fue cambiado por otro niño. </div><div></div><div>La noticia deja en shock a la joven pareja. No existe una solución sencilla al problema, ni un manual sobre qué hacer en estos casos. Ambas familias afectadas se ven enfrentadas a tomar una decisión, a la par que encaran un juicio al hospital para averiguar lo que sucedió y demandar por daños y perjuicios. Pero la recompensa monetaria es lo de menos. Midori no deja de culparse por no haber reconocido a su hijo, mientras que Ryota atribuye aquellas cualidades de carácter defectuoso que observa en Keita a que él no es su hijo de sangre. Para colmo, las familias no podían ser más distintas. Los Saiki provienen de una clase social muy distinta, y siempre llegan tarde a cualquier cita o reunión. Yudai, el papá de Ryusei, se las arregla vendiendo insumos de ferretería y plomería en una pequeña tienda montada al lado de una modesta casa, en contraste con el moderno departamento lujoso de los Nonomiya.</div><div></div><div>La familia, un tema no ajeno a la filmografía de Hirokazu Koreeda, vuelve a ser contemplada pero esta vez con un enfoque particular hacia la paternidad. La premisa de la historia podría sugerir un drama intenso y desgarrador, pero la sutileza del director guía a sus personajes en un camino de descubrimiento personal y aceptación donde no existen culpables. Hasta la enfermera que cambió a los niños despierta compasión, en un relato que contempla los pequeños detalles que enriquecen las relaciones familiares, a la par que observa la transformación lenta y gradual del padre. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/8H1Otrv1VKM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><blockquote>Una recomendación: De tal padre, tal hijo (2018)</blockquote><div></div>','De tal padre, tal hijo (2013)','','inherit','closed','closed','','780-revision-v1','','','2019-12-24 20:29:53','2019-12-24 23:29:53','',780,'http://lapistoladechejov.com/2019/12/24/780-revision-v1/',0,'revision','',0),(989,2,'2019-12-27 10:02:04','2019-12-27 13:02:04','<h2 style=\"font-weight: bold;\">Tacones negros sobre las ruinas de Alemania.</h2>\nTras un matrimonio de día y medio, el marido de María Braun es enviado al frente ruso. Cuando la guerra termina, y él no regresa, María encuentra la manera de proveer sustento a su familia, en medio de los escombros de una Alemania destruida y hambrienta, y en pleno asedio de las tropas aliadas.\n\nRainer Werner Fassbinder hace añicos, literalmente, la imagen de Hitler para revelar la otra cara del milagro económico alemán, en un relato cínico incapaz de olvidar las contradicciones de un colectivo enfocado en ocultar su pasado. Entre soldados americanos y empresarios adinerados, María se adapta y sobrevive, miente y mata, porque, como bien lo dice, prefiere crear milagros que esperar por ellos. A través de ella, el director realiza una crítica puntual a la sociedad alemana de la posguerra, que, para recuperar el prestigio económico que tenía, sellaba el pasado con ladrillos y perseguía el dinero y el ego como vías de recuperación, pero a costa de su propia destrucción y degradación interna.\n\nLas emisiones radiales compiten con el relato para evidenciar el contexto histórico. La banda sonora supera por instantes a los diálogos de los personajes en momentos clave, sin preocuparse por la predominancia de uno u otro, con la intención de otorgar la misma importancia a ambas caras de la realidad. Por ejemplo, cuando María se deshace del cartel con la fotografía de su marido, se escucha en la radio el listado de personas desaparecidas, o cuando ella cena en un lujoso restaurante, se escucha el discurso de Konrad Adenauer, primer canciller de la República Federal de Alemania, que insta el rearme, siendo que cuando María inicia su trabajo como asistente tan solo escenas antes, el canciller se pronuncia en contra del rearme de Alemania.\n\nSiguiendo aquella idea paradójica y discordante, martillazos y carcajadas acompañan los movimientos de cámara fluidos que van con libertad de planos abiertos a primeros planos, o que espían a personajes tras una ventana o detrás de un muro. Algunos, quizás, sienten la opresión del espacio, como la secretaria del empresario que observa a María a través de las plantas de su escritorio; otros ignoran lo que sucede, como esa pareja en el restaurante, tan ensimismada que no se voltea a mirar lo que sucede cuando se cae una copa. Lo que es cierto es que el pueblo padecía hambre, y la moral estaba devastada. Mientras la burguesía recuperaba su acomodo, los cigarrillos se convertían en un lujo, y los libros, en leña. Pero la heroína utiliza su actitud y belleza para conseguir todo lo quiere, con la mira siempre hacia el futuro e ignorando las preocupaciones de hoy. Sus tacones negros sobre los escombros de lo que alguna vez fue su colegio es un recuerdo de cómo ella logró reconstruirse, pasando por alto aquello que la destruyó. La ocupación aliada recuerda con insistencia la culpa de los alemanes en la destrucción de su propio país, pero gracias a dos cajas de cigarrillos que recibe María como disculpas de un soldado, ella consigue un broche, que a su vez le permite conseguir un vestido, gracias al cual consigue trabajo en un bar donde conoce a su amante.\n\nParte de la trilogía conocida como BRD (Bundesrepublik Deutschland, el nombre no oficial utilizado por el régimen comunista de Alemania del Este para referirse a Alemania del Oeste durante la década del ’70 al ’90), cuando la ocupación pretendía la neutralización completa, la protagonista busca su posición socioeconómica dentro del mundo patriarcal, y, siempre fiel a su amor idílico, su marido, utiliza a hombres en pos de la promesa del futuro reencuentro. Pero este futuro nunca llega, y cuando lo hace, ella ya no es la misma, ni él tampoco. Lo queda es ese falso nacionalismo festejado a través de la final de fútbol emitido por la radio, y, por si fuera poco, una explosión la destruye con sus sueños, como si estuvo siempre ciega creyendo en un ideal feliz.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/78UN9fYAOr8?feature=oembed\" width=\"459\" height=\"344\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','El matrimonio de María Braun (1979)','','inherit','closed','closed','','781-revision-v1','','','2019-12-27 10:02:04','2019-12-27 13:02:04','',781,'http://lapistoladechejov.com/2019/12/27/781-revision-v1/',0,'revision','',0),(860,1,'2019-12-24 20:29:54','2019-12-24 23:29:54','<div style=\"font-weight:bold;\">Tacones negros sobre las ruinas de Alemania.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_fab9e3d9d41143e7ba7c5491aa4ac7de~mv2.jpg\" ></div><div></div><div> </div><div>Tras un matrimonio de día y medio, el marido de María Braun es enviado al frente ruso. Cuando la guerra termina, y él no regresa, María encuentra la manera de proveer sustento a su familia, en medio de los escombros de una Alemania destruida y hambrienta, y en pleno asedio de las tropas aliadas.</div><div></div><div>Rainer Werner Fassbinder hace añicos, literalmente, la imagen de Hitler para revelar la otra cara del milagro económico alemán, en un relato cínico incapaz de olvidar las contradicciones de un colectivo enfocado en ocultar su pasado. Entre soldados americanos y empresarios adinerados, María se adapta y sobrevive, miente y mata, porque, como bien lo dice, prefiere crear milagros que esperar por ellos. A través de ella, el director realiza una crítica puntual a la sociedad alemana de la posguerra, que, para recuperar el prestigio económico que tenía, sellaba el pasado con ladrillos y perseguía el dinero y el ego como vías de recuperación, pero a costa de su propia destrucción y degradación interna.</div><div></div><div>Las emisiones radiales compiten con el relato para evidenciar el contexto histórico. La banda sonora supera por instantes a los diálogos de los personajes en momentos clave, sin preocuparse por la predominancia de uno u otro, con la intención de otorgar la misma importancia a ambas caras de la realidad. Por ejemplo, cuando María se deshace del cartel con la fotografía de su marido, se escucha en la radio el listado de personas desaparecidas, o cuando ella cena en un lujoso restaurante, se escucha el discurso de Konrad Adenauer, primer canciller de la República Federal de Alemania, que insta el rearme, siendo que cuando María inicia su trabajo como asistente tan solo escenas antes, el canciller se pronuncia en contra del rearme de Alemania. </div><div></div><div>Siguiendo aquella idea paradójica y discordante, martillazos y carcajadas acompañan los movimientos de cámara fluidos que van con libertad de planos abiertos a primeros planos, o que espían a personajes tras una ventana o detrás de un muro. Algunos, quizás, sienten la opresión del espacio, como la secretaria del empresario que observa a María a través de las plantas de su escritorio; otros ignoran lo que sucede, como esa pareja en el restaurante, tan ensimismada que no se voltea a mirar lo que sucede cuando se cae una copa. Lo que es cierto es que el pueblo padecía hambre, y la moral estaba devastada. Mientras la burguesía recuperaba su acomodo, los cigarrillos se convertían en un lujo, y los libros, en leña. Pero la heroína utiliza su actitud y belleza para conseguir todo lo quiere, con la mira siempre hacia el futuro e ignorando las preocupaciones de hoy. Sus tacones negros sobre los escombros de lo que alguna vez fue su colegio es un recuerdo de cómo ella logró reconstruirse, pasando por alto aquello que la destruyó. La ocupación aliada recuerda con insistencia la culpa de los alemanes en la destrucción de su propio país, pero gracias a dos cajas de cigarrillos que recibe María como disculpas de un soldado, ella consigue un broche, que a su vez le permite conseguir un vestido, gracias al cual consigue trabajo en un bar donde conoce a su amante. </div><div></div><div>Parte de la trilogía conocida como BRD (Bundesrepublik Deutschland, el nombre no oficial utilizado por el régimen comunista de Alemania del Este para referirse a Alemania del Oeste durante la década del ’70 al ’90), cuando la ocupación pretendía la neutralización completa, la protagonista busca su posición socioeconómica dentro del mundo patriarcal, y, siempre fiel a su amor idílico, su marido, utiliza a hombres en pos de la promesa del futuro reencuentro. Pero este futuro nunca llega, y cuando lo hace, ella ya no es la misma, ni él tampoco. Lo queda es ese falso nacionalismo festejado a través de la final de fútbol emitido por la radio, y, por si fuera poco, una explosión la destruye con sus sueños, como si estuvo siempre ciega creyendo en un ideal feliz. </div><div></div><iframe width=\"459\" height=\"344\" src=\"https://www.youtube.com/embed/78UN9fYAOr8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><blockquote>Una recomendación: La ruleta china (1976)</blockquote><div></div>','El matrimonio de María Braun (1979)','','inherit','closed','closed','','781-revision-v1','','','2019-12-24 20:29:54','2019-12-24 23:29:54','',781,'http://lapistoladechejov.com/2019/12/24/781-revision-v1/',0,'revision','',0),(991,2,'2019-12-27 10:04:18','2019-12-27 13:04:18','<h2 style=\"font-weight: bold;\">Entre lo íntimo y lo cotidiano.</h2>\nDos relatos en paralelo, pero unidos por la casualidad física, tejen la historia de La pointe courte (1955), la primera película de Agnès Varda. Por un lado, la vida de los habitantes como una comunidad, con sus problemas y luchas cotidianas: el hambre, las enfermedades y la pobreza. Por el otro, una pareja que se encuentra allí de vacaciones para resolver los problemas de su matrimonio. Él, oriundo del pueblo, ella, parisina. Entre la ficción y el documental, la mirada de Varda explora los patios vacíos del pueblo, las sábanas colgadas al sol, los canastos de moluscos y los gatos, imágenes que se alternan con la narración de la joven pareja que monologa sobre el desamor en un encuentro al borde de la ruptura. Cuando él habla de amor hacia ella, ella habla de amor a una idea, una costumbre, como la sensación de comodidad hacia lo conocido. El choque entre las dos tramas presentan estéticas diferentes, un relato con tintes neorrealistas y una conversación introspectiva y casi irreal que se contestan para evidenciar los límites entre lo cotidiano y lo íntimo.\n\nLa pointe courte es una reflexión sobre el amor ya no sustentado por la pasión y el descubrimiento inicial. El contraste narrativo repercute en cada aspecto de la película, desde la ausencia de argumento o conflictos irresueltos en la vida de los pescadores, a los largos paseos de la pareja que deambula el pueblo en medio de un diálogo teatral y profundo que se desarrolla en un tono casi monótono a pesar de la intensidad de las verdades que cada uno confiesa. El matrimonio incapaz de alcanzar la felicidad es un elemento foráneo e inusual frente a los hábitos del pueblo. Es más, tanto sus personajes como los actores que los encarnan, se contraponen a los habitantes no actores que más de una vez miran a cámara. Pero eso tiene poco o nada de importancia. La composición de los planos de la pareja juegan con la perspectiva; cuando él la mira, ella está de perfil y cuando ella lo mira, él está de perfil. La conversación de la pareja evade la realidad, flota por encima de la pobreza del pueblo, pero en igual de importancia sonora a los comentarios fortuitos de los pueblerinos que les observan. La cámara se mueve con elegancia y confianza, en un estilo experimental único que busca en los largos travellings la intimidad perdida de la pareja a la vez que expone con honestidad el arduo trabajo de una clase social marginada.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/lrJE9Jmpquw?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','La pointe courte (1955)','','inherit','closed','closed','','782-revision-v1','','','2019-12-27 10:04:18','2019-12-27 13:04:18','',782,'http://lapistoladechejov.com/2019/12/27/782-revision-v1/',0,'revision','',0),(861,1,'2019-12-24 20:29:55','2019-12-24 23:29:55','<div style=\"font-weight:bold;\">Entre lo íntimo y lo cotidiano.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_e091e5e4a37447fab2fc019da3d1a243~mv2_d_2048_1536_s_2.jpg\" ></div><div></div><div> </div><div>Dos relatos en paralelo, pero unidos por la casualidad física, tejen la historia de La pointe courte (1955), la primera película de Agnès Varda. Por un lado, la vida de los habitantes como una comunidad, con sus problemas y luchas cotidianas: el hambre, las enfermedades y la pobreza. Por el otro, una pareja que se encuentra allí de vacaciones para resolver los problemas de su matrimonio. Él, oriundo del pueblo, ella, parisina. Entre la ficción y el documental, la mirada de Varda explora los patios vacíos del pueblo, las sábanas colgadas al sol, los canastos de moluscos y los gatos, imágenes que se alternan con la narración de la joven pareja que monologa sobre el desamor en un encuentro al borde de la ruptura. Cuando él habla de amor hacia ella, ella habla de amor a una idea, una costumbre, como la sensación de comodidad hacia lo conocido. El choque entre las dos tramas presentan estéticas diferentes, un relato con tintes neorrealistas y una conversación introspectiva y casi irreal que se contestan para evidenciar los límites entre lo cotidiano y lo íntimo.</div><div></div><div style=\"font-style: italic;\">La pointe courte es una reflexión sobre el amor ya no sustentado por la pasión y el descubrimiento inicial. El contraste narrativo repercute en cada aspecto de la película, desde la ausencia de argumento o conflictos irresueltos en la vida de los pescadores, a los largos paseos de la pareja que deambula el pueblo en medio de un diálogo teatral y profundo que se desarrolla en un tono casi monótono a pesar de la intensidad de las verdades que cada uno confiesa. El matrimonio incapaz de alcanzar la felicidad es un elemento foráneo e inusual frente a los hábitos del pueblo. Es más, tanto sus personajes como los actores que los encarnan, se contraponen a los habitantes no actores que más de una vez miran a cámara. Pero eso tiene poco o nada de importancia. La composición de los planos de la pareja juegan con la perspectiva; cuando él la mira, ella está de perfil y cuando ella lo mira, él está de perfil. La conversación de la pareja evade la realidad, flota por encima de la pobreza del pueblo, pero en igual de importancia sonora a los comentarios fortuitos de los pueblerinos que les observan. La cámara se mueve con elegancia y confianza, en un estilo experimental único que busca en los largos travellings la intimidad perdida de la pareja a la vez que expone con honestidad el arduo trabajo de una clase social marginada. </div><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/lrJE9Jmpquw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','La pointe courte (1955)','','inherit','closed','closed','','782-revision-v1','','','2019-12-24 20:29:55','2019-12-24 23:29:55','',782,'http://lapistoladechejov.com/2019/12/24/782-revision-v1/',0,'revision','',0),(994,2,'2019-12-27 10:06:32','2019-12-27 13:06:32','<h2 style=\"font-weight: bold;\">El ser humano es un parásito.</h2>\nTina vigila la frontera de una manera muy particular: bajo su extraño aspecto, ella puede oler el miedo y la culpa que ocultan las caras anónimas que cruzan la aduana día a día. Es quizás aquí el único lugar donde pasa desapercibida; a no ser que detenga a alguien por tráfico de alcohol o pornografía, la gente evita observarla, los perros se alteran ante su presencia y ella vive confinada en el bosque, donde la naturaleza le ofrece el consuelo que no encuentra en ninguna otra parte.\n\nHasta que conoce a Vore, o más bien, huele algo que él oculta. Su olor le produce curiosidad y excitación, una sensación extraña que aflora todos sus sentidos. Hay algo además en su actitud despreocupada: no encaja, pero no le interesa, mientras que Tina se ha esforzado toda su vida por no incomodar a nadie. Y es aquí donde la película, a través de dos tramas en paralelo, teje una historia de descubrimiento, por un lado, y por el otro, gracias al olfato de Tina, un policial con agentes en búsqueda de desmantelar una red de tráfico de bebes, algo más espeluznante que cualquier película de horror porque no es ninguna fantasía. Es ilusorio pensar que las historias no se cruzarán, porque la verdadera identidad de Tina tiene un precio. Y no es nada agradable.\n\nBorder critica sin escrúpulos el rechazo de la sociedad hacia aquello que lo considera fuera de sus estándares encasillados bajo la palabra “normal”. Entre el horror y la fantasía, aquello que más asusta no son ni Tina ni Vore, seres con fisionomía sexual distinta que corren en el bosque desnudos y se alimentan de gusanos. Al fin y al cabo, ellos son meros sobrevivientes, una minoría rechazada y abusada que ha logrado encontrarse. En cambio, la humanidad, que tanto se ha esforzado por juzgarlos, es una raza que de evolutiva no tiene nada. Porque lo que más da miedo, y aquello que quedará latente después de los créditos, es cómo el ser humano es capaz de alimentar sus placeres morbosos y depravados a costa de otros seres humanos. Un parásito que infecta el mundo entero.\n\n<iframe src=\"https://www.youtube.com/embed/fDXfnSf829o?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Border (2018)','','inherit','closed','closed','','783-revision-v1','','','2019-12-27 10:06:32','2019-12-27 13:06:32','',783,'http://lapistoladechejov.com/2019/12/27/783-revision-v1/',0,'revision','',0),(862,1,'2019-12-24 20:29:55','2019-12-24 23:29:55','<div style=\"font-weight:bold;\">El ser humano es un parásito.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_6d9c32b8bc6e4757adffd5c8d318b585~mv2.jpg\" ></div><div></div><div>Tina vigila la frontera de una manera muy particular: bajo su extraño aspecto, ella puede oler el miedo y la culpa que ocultan las caras anónimas que cruzan la aduana día a día. Es quizás aquí el único lugar donde pasa desapercibida; a no ser que detenga a alguien por tráfico de alcohol o pornografía, la gente evita observarla, los perros se alteran ante su presencia y ella vive confinada en el bosque, donde la naturaleza le ofrece el consuelo que no encuentra en ninguna otra parte.</div><div></div><div>Hasta que conoce a Vore, o más bien, huele algo que él oculta. Su olor le produce curiosidad y excitación, una sensación extraña que aflora todos sus sentidos. Hay algo además en su actitud despreocupada: no encaja, pero no le interesa, mientras que Tina se ha esforzado toda su vida por no incomodar a nadie. Y es aquí donde la película, a través de dos tramas en paralelo, teje una historia de descubrimiento, por un lado, y por el otro, gracias al olfato de Tina, un policial con agentes en búsqueda de desmantelar una red de tráfico de bebes, algo más espeluznante que cualquier película de horror porque no es ninguna fantasía. Es ilusorio pensar que las historias no se cruzarán, porque la verdadera identidad de Tina tiene un precio. Y no es nada agradable.</div><div></div><div>Border critica sin escrúpulos el rechazo de la sociedad hacia aquello que lo considera fuera de sus estándares encasillados bajo la palabra “normal”. Entre el horror y la fantasía, aquello que más asusta no son ni Tina ni Vore, seres con fisionomía sexual distinta que corren en el bosque desnudos y se alimentan de gusanos. Al fin y al cabo, ellos son meros sobrevivientes, una minoría rechazada y abusada que ha logrado encontrarse. En cambio, la humanidad, que tanto se ha esforzado por juzgarlos, es una raza que de evolutiva no tiene nada. Porque lo que más da miedo, y aquello que quedará latente después de los créditos, es cómo el ser humano es capaz de alimentar sus placeres morbosos y depravados a costa de otros seres humanos. Un parásito que infecta el mundo entero. </div><div></div><blockquote>Una escena: Tina y Vore en el río</blockquote><blockquote>Una recomendación: Let the right one in (2008) también escrito por John Ajvide Lindqvist </blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/fDXfnSf829o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Border (2018)','','inherit','closed','closed','','783-revision-v1','','','2019-12-24 20:29:55','2019-12-24 23:29:55','',783,'http://lapistoladechejov.com/2019/12/24/783-revision-v1/',0,'revision','',0),(1016,2,'2019-12-27 10:26:06','2019-12-27 13:26:06','<h2 style=\"font-weight: bold;\">Empoderamiento femenino en un thriller de venganza.</h2>\nLa directora francesa Coralie Fargeat debuta con su primer largometraje Revenge, un thriller atrevido y desesperante situado en el medio del desierto. Cuando los amigos del novio de Jen interrumpen su pequeña escapada romántica, el calor, el alcohol y los excesos no hacen más que elevar la tensión en la casa. Tras un evento traumático, nuestra protagonista emerge del fuego en busca de matar a quienes la hicieron daño.\n\nComo tema, la venganza; y como protagonista, una mujer abusada y ultrajada por los hombres que la rodean. La estética visual elegida para narrar esta historia sangrienta, con una paleta de colores sobre saturados, entre el rosado, el azul del cielo y el naranja del sol, estiliza la violencia y la sexualidad con un look pop inusual para el género, pero que, al igual que la elección de una mujer en el rol protagónico, rompe con los estereotipos configurados en torno a ese tipo de películas. Jen no es como los hombres piensan que es; Revenge, tampoco. Con pocas líneas de diálogo, y solo dos espacios, el desierto y la casa, la cacería ensangrentada que se desencadena es una agonía física que retuerce de dolor las entrañas, pero a la vez impredecible por su ritmo furioso condicionado por la ira de la heroína. Ya el espacio propone un escenario antagónico y hostil que pondrá trabas a los personajes, además de la lucha contra el tiempo por sobrevivir y no morir en el intento.\n\nRevenge no es ajena a las convenciones del género, pero la estilización y el montaje, y el carácter rudo invencible de Jen, quien en ropa interior y armada hasta los dientes causa terror, hacen de la película un viaje más que entretenido. Vale decir que es apta para espectadores con un estómago resistente pero que, sin embargo, bajo los litros de sangre, la realizadora se cuestiona la libertad sexual que tienen la mujeres juzgadas bajo ojos masculinos.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/sJtH-tzpOmg?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Revenge (2018)','','inherit','closed','closed','','784-revision-v1','','','2019-12-27 10:26:06','2019-12-27 13:26:06','',784,'http://lapistoladechejov.com/2019/12/27/784-revision-v1/',0,'revision','',0),(863,1,'2019-12-24 20:29:56','2019-12-24 23:29:56','<div style=\"font-weight:bold;\"> Empoderamiento femenino en un thriller de venganza.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_43b95427d12f43bd8e509610eb479223~mv2.jpg\" ></div><div> </div><div> </div><div>La directora francesa Coralie Fargeat debuta con su primer largometraje Revenge, un thriller atrevido y desesperante situado en el medio del desierto. Cuando los amigos del novio de Jen interrumpen su pequeña escapada romántica, el calor, el alcohol y los excesos no hacen más que elevar la tensión en la casa. Tras un evento traumático, nuestra protagonista emerge del fuego en busca de matar a quienes la hicieron daño. </div><div></div><div style=\"font-style: italic;\">Como tema, la venganza; y como protagonista, una mujer abusada y ultrajada por los hombres que la rodean. La estética visual elegida para narrar esta historia sangrienta, con una paleta de colores sobre saturados, entre el rosado, el azul del cielo y el naranja del sol, estiliza la violencia y la sexualidad con un look pop inusual para el género, pero que, al igual que la elección de una mujer en el rol protagónico, rompe con los estereotipos configurados en torno a ese tipo de películas. Jen no es como los hombres piensan que es; Revenge, tampoco. Con pocas líneas de diálogo, y solo dos espacios, el desierto y la casa, la cacería ensangrentada que se desencadena es una agonía física que retuerce de dolor las entrañas, pero a la vez impredecible por su ritmo furioso condicionado por la ira de la heroína. Ya el espacio propone un escenario antagónico y hostil que pondrá trabas a los personajes, además de la lucha contra el tiempo por sobrevivir y no morir en el intento.</div><div></div><div>Revenge no es ajena a las convenciones del género, pero la estilización y el montaje, y el carácter rudo invencible de Jen, quien en ropa interior y armada hasta los dientes causa terror, hacen de la película un viaje más que entretenido. Vale decir que es apta para espectadores con un estómago resistente pero que, sin embargo, bajo los litros de sangre, la realizadora se cuestiona la libertad sexual que tienen la mujeres juzgadas bajo ojos masculinos. </div><div></div><blockquote>Una escena: la persecución final en la casa</blockquote><blockquote>Una recomendación: The Villainess (2017)</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/sJtH-tzpOmg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Revenge (2018)','','inherit','closed','closed','','784-revision-v1','','','2019-12-24 20:29:56','2019-12-24 23:29:56','',784,'http://lapistoladechejov.com/2019/12/24/784-revision-v1/',0,'revision','',0),(1085,2,'2020-01-16 11:14:54','2020-01-16 14:14:54','<h2>El derrumbe de un magnate. </h2>\n<p><span style=\"font-weight: 400;\">El feminismo sesentayochista, interesado en teorías sobre el poder de la imagen, había denunciado la utilización del cuerpo de la mujer como un objeto, una mercancía sexualizada y explotada en función del rédito económico, sea en publicidad, en cine, en televisión o mismo en los absurdos concursos de belleza. Ya a más de 30 años de la divulgación de ensayos clave de autoras como Laura Mulvey o Annete Kuhn, poco ha cambiado y menos aún en el imperio estadounidense de los medios masivos de comunicación, donde la política se gesta en la sala de prensa. </span></p>\n<p><b><i>El escándalo</i></b><span style=\"font-weight: 400;\"> narra la caída de Roger Ailes, un hombre machista y xenófobo, quien a lo largo de su mandato en Fox News incrementó la audiencia con una fórmula que consistía en exhibir lo máximo posible el cuerpo de las mujeres en faldas cortas a la vez que alimentaba cualquier noticia controversial cargada de propaganda nacionalista y conservadora para un público de ultraderecha. Pero el famoso “plano pierna” de Ailes era solo la punta del iceberg, pues además del constante abuso verbal e insinuaciones denigrantes hacia las mujeres, a puertas cerradas, él acosaba sexualmente a sus empleadas.  </span></p>\n<p><span style=\"font-weight: 400;\">A través de personajes ficticios y reales, entre ellos la comentarista Gretchen Carlson quien fue la primera en denunciar a Ailes, y la periodista política Megyn Kelly, el relato revela las controversias internas de un imperio que cobijaba a ese hombre, mientras que el personaje de Kayla son nuestros ojos mediante lo cual vivimos el proceso de manipulación desde la llegada al canal con aspiraciones laborales ambiciosas a ser una víctima más. El techo de cristal de las mujeres en televisión, al menos en ese canal de televisión, era un favor sexual: acceder garantiza visibilidad, pero negarse significa no solamente la pérdida del trabajo, sino olvidar la posibilidad de cualquier otro puesto laboral como periodista. </span></p>\n<p><span style=\"font-weight: 400;\">Miradas a cámara dan voz a estas mujeres que sufrieron y siguen sufriendo el acoso laboral, y más que complicidad, esa ruptura de la cuarta pared coloca a ambas en un nivel de igualdad; la víctima fui yo, pero cualquiera pudo haber sido una víctima también, y que esto me haya pasado a mi, que esta situación sea mía, personal, evidencia que es la situación de muchas otras mujeres dentro de las estructuras políticas y sociales de dominación masculina. </span></p>\n<p><span style=\"font-weight: 400;\">Una de las secuencias más agonizantes es quizás el encuentro eventual entre Ailes y Kayla, predestinado desde el vamos, porque ya somos conscientes del carácter intocable de Ailes, de su modo de someter a las mujeres, pero ¿cómo esperar que no lo sea cuando el mismo presidente de los Estados Unidos se burla libremente con impunidad y protección de otras mujeres? Irrita observar cómo los medios masivos de comunicación controlan la opinión pública con senos y tacos altos en la pantalla, y comentarios degradantes sobre la menopausia, pero es más terrible aún cómo estos medios influyen en la política de los países más poderosos dentro de una rosca de poder de jerarquía masculina. Si bien es ridículo creer que la desvinculación de un pieza supone un cambio de mentalidad, al menos el derrumbe de un grande sumado a movimientos de visibilización de agresiones sexuales podría denunciar que la lucha del feminismo siempre irá más allá de la imagen que se percibe a simple vista. Que las películas sean la voz de quienes tuvieron miedo de hablar, y que al hacerlo alienten a otras que lo hagan.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=DjH68re5iI4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=DjH68re5iI4\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El escándalo (2019)','','publish','open','open','','el-escandalo-2019','','','2020-01-16 11:15:02','2020-01-16 14:15:02','',0,'http://lapistoladechejov.com/?p=1085',0,'post','',0),(868,2,'2019-12-26 09:00:42','2019-12-26 12:00:42','','logo la pistola de chejov web-01','','inherit','open','closed','','logo-la-pistola-de-chejov-web-01','','','2019-12-26 09:00:42','2019-12-26 12:00:42','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-la-pistola-de-chejov-web-01.png',0,'attachment','image/png',0),(869,2,'2019-12-26 09:00:45','2019-12-26 12:00:45','','logo la pistola de chejov web-02','','inherit','open','closed','','logo-la-pistola-de-chejov-web-02','','','2019-12-26 09:00:45','2019-12-26 12:00:45','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-la-pistola-de-chejov-web-02.png',0,'attachment','image/png',0),(870,2,'2019-12-26 09:00:53','2019-12-26 12:00:53','','logo la pistola de chejov web-03','','inherit','open','closed','','logo-la-pistola-de-chejov-web-03','','','2019-12-26 09:00:53','2019-12-26 12:00:53','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-la-pistola-de-chejov-web-03.png',0,'attachment','image/png',0),(1019,2,'2019-12-27 10:28:51','2019-12-27 13:28:51','<h2 style=\"font-weight: bold;\">Terror absurdo en el mundo del arte.</h2>\nUn crítico de arte, una galerista ambiciosa, una asistente saturadas del trabajo, un artista en busca de inspiración, un artista emergente, un montajista descuidado y un fallecido artista. ¿Demasiados personajes? Pues sí, pero eso es lo de menos en la nueva película de Dan Gilroy, Velvet Buzzsaw (2019), que ya de entrada se pierde en el relato con una extensa introducción a sus personajes. Vayamos por parte.\n\nAmbientada en la movida artística de Los Ángeles, donde el arte equivale a ceros en un cheque, Josefina descubre por casualidad la obra de Ventril Dease, su vecino de arriba quien muere sin dejar herederos, ni familiares, ni amigos. Su único pedido: que toda su obra sea destruida. Como estamos en una película, es obvio que eso no sucede. Ella aprovecha dar un salto al éxito, y gracias al aval del crítico, quien queda fascinado por la crudeza inquietante de la obra, empieza a sacar provecho de las pinturas. Pero el deseo de destruirse queda impregnada en la obra, y la película cambia de tono y de dirección sin previo aviso. De un planteamiento inicial que pretendía criticar el ajetreo en el mundo del arte, muta a una serie de asesinatos que nada tienen de especial, más que la cantidad de sangre salpicada.\n\nEl poder del fantasma raya lo absurdo; es un ente maligno que posee y se encarna en cualquier obra de arte. Y no es necesario que sea la obra del pintor maldecido, sino aparece en un grafiti, en una escultura, en un dibujo, sin motivo más que asesinar. ¿Por qué? Quién sabe. Ni la excentricidad de Morf bajo la mano de Jake Gyllenhaal puede salvar la película, que termina siendo ni entretenida ni superficial ni mucho menos tenebrosa.','Velvet Buzzsaw (2019)','','inherit','closed','closed','','785-revision-v1','','','2019-12-27 10:28:51','2019-12-27 13:28:51','',785,'http://lapistoladechejov.com/2019/12/27/785-revision-v1/',0,'revision','',0),(873,1,'2019-12-26 09:16:25','2019-12-26 12:16:25','<div style=\"font-weight:bold;\">Terror absurdo en el mundo del arte.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_d5d6d9ba152e42f3913b7308140a3896~mv2.jpg\" ></div><div> </div><div>Un crítico de arte, una galerista ambiciosa, una asistente saturadas del trabajo, un artista en busca de inspiración, un artista emergente, un montajista descuidado y un fallecido artista. ¿Demasiados personajes? Pues sí, pero eso es lo de menos en la nueva película de Dan Gilroy, Velvet Buzzsaw (2019), que ya de entrada se pierde en el relato con una extensa introducción a sus personajes. Vayamos por parte.</div><div></div><div>Ambientada en la movida artística de Los Ángeles, donde el arte equivale a ceros en un cheque, Josefina descubre por casualidad la obra de Ventril Dease, su vecino de arriba quien muere sin dejar herederos, ni familiares, ni amigos. Su único pedido: que toda su obra sea destruida. Como estamos en una película, es obvio que eso no sucede. Ella aprovecha dar un salto al éxito, y gracias al aval del crítico, quien queda fascinado por la crudeza inquietante de la obra, empieza a sacar provecho de las pinturas. Pero el deseo de destruirse queda impregnada en la obra, y la película cambia de tono y de dirección sin previo aviso. De un planteamiento inicial que pretendía criticar el ajetreo en el mundo del arte, muta a una serie de asesinatos que nada tienen de especial, más que la cantidad de sangre salpicada.</div><div></div><div>El poder del fantasma raya lo absurdo; es un ente maligno que posee y se encarna en cualquier obra de arte. Y no es necesario que sea la obra del pintor maldecido, sino aparece en un grafiti, en una escultura, en un dibujo, sin motivo más que asesinar. ¿Por qué? Quién sabe. Ni la excentricidad de Morf bajo la mano de Jake Gyllenhaal puede salvar la película, que termina siendo ni entretenida ni superficial ni mucho menos tenebrosa. </div><div></div><blockquote>Una escena: La muerte de Gretchen y los niños que la descubren</blockquote><blockquote>Una recomendación: Nightcrawler (2014) de Dan Gilroy con Gyllenhaal también</blockquote>','Velvet Buzzsaw (2019)','','inherit','closed','closed','','785-revision-v1','','','2019-12-26 09:16:25','2019-12-26 12:16:25','',785,'http://lapistoladechejov.com/2019/12/26/785-revision-v1/',0,'revision','',0),(1021,2,'2019-12-27 10:33:49','2019-12-27 13:33:49','<h2 style=\"font-weight: bold;\">Miradas y silencios en medio de las llamas.</h2>\nJeanette y Jerry viven con su hijo Joe en un pequeño pueblo de Montana. Estamos en los años 60. La familia sobrevive gracias al trabajo de Jerry, lustrabotas y cuidador de una cancha de golf. Jeanette se encarga de la casa y de cuidar a Joe. Nada parece estar fuera de lo común en esta familia, ni siquiera Joe quien finge disfrutar del fútbol solo para complacer a su padre. Pero afuera, el incendio forestal fronterizo amenaza con llegar al pueblo, y con las llamas, llegan los problemas. Cuando Jerry pierde su trabajo, el golpe es tal que lo único que tiene sentido en él es ir a combatir el fuego. Las súplicas de su esposa e hijo son en vano; Jerry está decidido en ir a apagar el fuego y deja solos a Jeanette y Joe.\n\nNarrada desde el punto de vista de Joe, la trama está tintada por su visión limitada, y por la poca injerencia que él tiene sobre la estructura narrativa. No hay fuerzas oponentes, ni relaciones contradictorias entre los personajes. En esto radica la belleza contemplativa del drama familiar de los Brinson. Jerry queda ausente, reducido a llamadas telefónicas no contestadas. Y Joe es un mero espectador, que al igual que nosotros, contempla la disolución de sus padres, esas personas que alguna vez se amaban, y cuyo amor podía sostener la felicidad dentro de una casa modesta y pequeña. Pero a Joe le sucede algo. En una noche, su adolescencia pasa de largo, como el tren que atraviesa el pueblo. Ya no es un niño, y casi por decisión propia. Debe trabajar después del colegio, preparar la cena y arreglar el inodoro del baño, todo esto mientras observa el lento (pero intenso) desmoronar de su madre. Y afuera, el fuego se sigue expandiendo, llevando consigo su inocencia.\n\nBajo el quietismo de Joe, Jeanette resplandece. Su personaje, quizás fuera de época, no queda confinado a la cama, sino que busca con actitudes insistentes y un carácter impetuoso, adaptarse a su nueva vida. La felicidad de ella no esta supeditada a su marido. Su vida no debería por qué ponerse en pausa. Ideas, estoy segura, que no tenían cabida aún en los suburbios norteamericanos, como una premonición al movimiento feminista de los ’60 que vendría a tambalear las estructuras sociales.\n\nLos clientes de la tienda de fotografía donde trabaja Joe, con sus poses puestas y sonrisas perfectas, como íconos de la agraciada familia de clase media, se contrastan con la soledad de Jeanette y la ira contenida en su silencio. Joe ubica a las familias frente a un fondo azul grisáceo, con una iluminación cálida, sin sombras oscuras. Parece tomar esa fotografía que irá al portarretrato sobre la chimenea, retratos dignos de aparecer en un catálogo de muebles para el hogar. Quizás sea el anhelo de una felicidad, aunque sea montada y falsa, lo que desea Joe. O al menos recuperar esa imagen de familia ideal que había marcado su niñez. Pero las circunstancias han cambiado, y la felicidad posada se contrasta con las imágenes de Jeanette enmarcada tras un mostrador, sola en medio de la calle, o volviendo a casa en bicicleta con el humo negro de fondo que contamina el perfecto cielo azul, como reflejos de su lucha interna entre el resentimiento y el olvido. A pesar de estar confinada en la casa, ella se desprende de ese espacio cómodo en busca de algo que reemplace las frustraciones del hogar quebrado. Cada vez que lo hace, el mundo exterior se materializa como hostil, en una composición fotográfica y puesta en escena que la abruma hasta cuando elige los productos más baratos en las góndolas del supermercado, o cuando pretende cruzar la calle en una toma en picada que dibuja la calle como una barrera que trunca su vida, y ella, pequeña e insignificante, lo hace de igual manera.\n\nLa iluminación natural baña con luz uniforme a sus protagonistas, como un suave tamiz que otorga un ambiente íntimo a la historia. La oscuridad de la noche, y las luces de noche que dibujan sombras marcadas en los rostros de los personajes, están reservadas para los picos emocionales de confrontación y disputas. Es frecuente además la composición de la casa en un plano general y sus personajes ubicados adentro o afuera con la intención de remarcar que adentro sucede algo, pero afuera sucede otra cosa. Las ventanas de la casa son pequeños espacios por donde podemos, en pequeñas cuotas, espiar aquellas acciones que nos darán pistas sobre las emociones por las que atraviesan los personajes. Por estos pequeño huecos, la inocencia de Joe se ve puesta a prueba en las desapariciones injustificadas de su madre, en las llamadas telefónicas que no son contestadas y en las cosas que él observa a través de la ventana.\n\nJoe observa impotente como su madre, al contrario de lo que podría esperarse de una mujer ama de casa ejemplar de esa época, no se queda de brazos cruzados esperando el regreso de Jerry. Ella se maquilla, se arregla, desempolva atuendos de épocas pasadas de juventud. Pero el director no la juzga ni la retrata como una villana. Los personajes son como nosotros, personas expertas en cometer errores. Paul Dano retrata el lento quemar de una familia consumida por el fuego desde el punto de vista de Joe, quien trata inútilmente de comprender el extraño actuar de sus padres. Hay miradas incómodas, miradas cómplices y miradas que imploran explicaciones.\n\nHay un poder hipnótico que ejerce el peligro del fuego, así como en el derrumbe de la familia de los Brinson. Continuando con la dualidad adentro y afuera, sustentada en el uso de las ventanas, de la misma manera el fuego cataliza los problemas dentro y fuera del hogar. Afuera, quema el bosque. Lo hace con lentitud, pero no deja de propagarse ni se amenazar con llegar al pueblo. Poco a poco, carcome los árboles del bosque, de la misma manera que el matrimonio de los padres de Joe se deteriora, de manera irreparable. Es imposible recuperar un árbol quemado. ¿Será posible recuperar un matrimonio roto?\n\nWildlife supone además una profunda contemplación hacia lo que está fuera de campo. Las actuaciones de Ed Oxenbould y Carey Mulligan, resaltadas por el uso de primeros planos mudos, hablan más fuerte con sus miradas que con cualquier línea de parlamento, y construyen con sus gestos una ansiedad por descubrir qué es lo que está fuera de la imagen; por más que se intuya lo que se está observando, mucho se deja a curiosidad del espectador, como los diálogos entre Jerry su jefe, o las peleas entre Jeanette y Jerry que son narradas a través del rostro de Joe cabizbajo, testigo de la escena, pero no partícipe. Joe es como el espectador, quien solo puede contemplar lo que sucede, y Jeanette en su desesperación, muta de madre y esposa perfecta a adolescente rebelde. El montaje dilata con inteligencia los momentos fuera de campo. Más que sugerir una reacción, invita a la reflexión, a la interiorización de aquello que está sucediendo pero no sabemos qué es. Estimula al espectador a completar el contra plano en una escena de diálogo por un rostro que expresa aquello que para nosotros falta, puede ser una mirada enfurecida, unos ojos incrédulos, o una respuesta ahogada en el silencio. Lo maravilloso es que cada uno tendrá en mente una reacción distinta, y el espectador es libre de malear a discreción pequeños fragmentos del relato.\n\nJeanette lleva a Joe de paseo al puesto de control frente a las llamas, en la secuencia más preciosa de la película. Joe baja del auto, sabemos que está observando el fuego, pero la necesidad de ver este espectáculo a través de sus ojos se dilata con el suave crepitar de las llamas hasta el punto que dudamos si habrá una recompensa o no. La hay. Joe desea y espera, casi como un deus ex machina, que llegue la nieve que traerá a su padre de regreso a casa. Para él, el regreso de Jerry pondrá fin a los problemas que pudo haber causado su partida. Pero tal como afirma una compañera de Joe, Si el fuego llega, será muy tarde. Para Jeanette y Jerry las llamas llegaron y de hecho, ya fue muy tarde.\n\nSus aprendizajes en la fotografía no fueron de utilidad para Joe, ya que él fracasa en congelar ese pequeño momento de su vida, donde todo estaba perfecto, pero quizás con una fotografía de su familia puede al menos, con una sonrisa, recordarlo como tal en un registro falso, pero reconfortante.\n\n<strong>Trabajo realizado como parte del programa del Master en Crítica Cinematográfica de Aula Crítica</strong>\n<div><a href=\"http://aulacritica.com/\" target=\"_top\" rel=\"noopener noreferrer\">http://aulacritica.com/</a></div>','Wildlife (2018)','','inherit','closed','closed','','786-revision-v1','','','2019-12-27 10:33:49','2019-12-27 13:33:49','',786,'http://lapistoladechejov.com/2019/12/27/786-revision-v1/',0,'revision','',0),(874,1,'2019-12-26 09:16:26','2019-12-26 12:16:26','<div style=\"font-weight:bold;\">Miradas y silencios en medio de las llamas.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_12a801c94d1348df8b28888633e99876~mv2.jpg\" ></div><div>Jeanette y Jerry viven con su hijo Joe en un pequeño pueblo de Montana. Estamos en los años 60. La familia sobrevive gracias al trabajo de Jerry, lustrabotas y cuidador de una cancha de golf. Jeanette se encarga de la casa y de cuidar a Joe. Nada parece estar fuera de lo común en esta familia, ni siquiera Joe quien finge disfrutar del fútbol solo para complacer a su padre. Pero afuera, el incendio forestal fronterizo amenaza con llegar al pueblo, y con las llamas, llegan los problemas. Cuando Jerry pierde su trabajo, el golpe es tal que lo único que tiene sentido en él es ir a combatir el fuego. Las súplicas de su esposa e hijo son en vano; Jerry está decidido en ir a apagar el fuego y deja solos a Jeanette y Joe.</div><div></div><div>Narrada desde el punto de vista de Joe, la trama está tintada por su visión limitada, y por la poca injerencia que él tiene sobre la estructura narrativa. No hay fuerzas oponentes, ni relaciones contradictorias entre los personajes. En esto radica la belleza contemplativa del drama familiar de los Brinson. Jerry queda ausente, reducido a llamadas telefónicas no contestadas. Y Joe es un mero espectador, que al igual que nosotros, contempla la disolución de sus padres, esas personas que alguna vez se amaban, y cuyo amor podía sostener la felicidad dentro de una casa modesta y pequeña. Pero a Joe le sucede algo. En una noche, su adolescencia pasa de largo, como el tren que atraviesa el pueblo. Ya no es un niño, y casi por decisión propia. Debe trabajar después del colegio, preparar la cena y arreglar el inodoro del baño, todo esto mientras observa el lento (pero intenso) desmoronar de su madre. Y afuera, el fuego se sigue expandiendo, llevando consigo su inocencia.</div><div></div><div>Bajo el quietismo de Joe, Jeanette resplandece. Su personaje, quizás fuera de época, no queda confinado a la cama, sino que busca con actitudes insistentes y un carácter impetuoso, adaptarse a su nueva vida. La felicidad de ella no esta supeditada a su marido. Su vida no debería por qué ponerse en pausa. Ideas, estoy segura, que no tenían cabida aún en los suburbios norteamericanos, como una premonición al movimiento feminista de los ’60 que vendría a tambalear las estructuras sociales.</div><div></div><div>Los clientes de la tienda de fotografía donde trabaja Joe, con sus poses puestas y sonrisas perfectas, como íconos de la agraciada familia de clase media, se contrastan con la soledad de Jeanette y la ira contenida en su silencio. Joe ubica a las familias frente a un fondo azul grisáceo, con una iluminación cálida, sin sombras oscuras. Parece tomar esa fotografía que irá al portarretrato sobre la chimenea, retratos dignos de aparecer en un catálogo de muebles para el hogar. Quizás sea el anhelo de una felicidad, aunque sea montada y falsa, lo que desea Joe. O al menos recuperar esa imagen de familia ideal que había marcado su niñez. Pero las circunstancias han cambiado, y la felicidad posada se contrasta con las imágenes de Jeanette enmarcada tras un mostrador, sola en medio de la calle, o volviendo a casa en bicicleta con el humo negro de fondo que contamina el perfecto cielo azul, como reflejos de su lucha interna entre el resentimiento y el olvido. A pesar de estar confinada en la casa, ella se desprende de ese espacio cómodo en busca de algo que reemplace las frustraciones del hogar quebrado. Cada vez que lo hace, el mundo exterior se materializa como hostil, en una composición fotográfica y puesta en escena que la abruma hasta cuando elige los productos más baratos en las góndolas del supermercado, o cuando pretende cruzar la calle en una toma en picada que dibuja la calle como una barrera que trunca su vida, y ella, pequeña e insignificante, lo hace de igual manera. </div><div></div><div>La iluminación natural baña con luz uniforme a sus protagonistas, como un suave tamiz que otorga un ambiente íntimo a la historia. La oscuridad de la noche, y las luces de noche que dibujan sombras marcadas en los rostros de los personajes, están reservadas para los picos emocionales de confrontación y disputas. Es frecuente además la composición de la casa en un plano general y sus personajes ubicados adentro o afuera con la intención de remarcar que adentro sucede algo, pero afuera sucede otra cosa. Las ventanas de la casa son pequeños espacios por donde podemos, en pequeñas cuotas, espiar aquellas acciones que nos darán pistas sobre las emociones por las que atraviesan los personajes. Por estos pequeño huecos, la inocencia de Joe se ve puesta a prueba en las desapariciones injustificadas de su madre, en las llamadas telefónicas que no son contestadas y en las cosas que él observa a través de la ventana.</div><blockquote>Wildlife es una película de miradas. De miradas y de silencios.</blockquote><div>Joe observa impotente como su madre, al contrario de lo que podría esperarse de una mujer ama de casa ejemplar de esa época, no se queda de brazos cruzados esperando el regreso de Jerry. Ella se maquilla, se arregla, desempolva atuendos de épocas pasadas de juventud. Pero el director no la juzga ni la retrata como una villana. Los personajes son como nosotros, personas expertas en cometer errores. Paul Dano retrata el lento quemar de una familia consumida por el fuego desde el punto de vista de Joe, quien trata inútilmente de comprender el extraño actuar de sus padres. Hay miradas incómodas, miradas cómplices y miradas que imploran explicaciones.</div><div></div><div>Hay un poder hipnótico que ejerce el peligro del fuego, así como en el derrumbe de la familia de los Brinson. Continuando con la dualidad adentro y afuera, sustentada en el uso de las ventanas, de la misma manera el fuego cataliza los problemas dentro y fuera del hogar. Afuera, quema el bosque. Lo hace con lentitud, pero no deja de propagarse ni se amenazar con llegar al pueblo. Poco a poco, carcome los árboles del bosque, de la misma manera que el matrimonio de los padres de Joe se deteriora, de manera irreparable. Es imposible recuperar un árbol quemado. ¿Será posible recuperar un matrimonio roto?</div><div></div><div>Wildlife supone además una profunda contemplación hacia lo que está fuera de campo. Las actuaciones de Ed Oxenbould y Carey Mulligan, resaltadas por el uso de primeros planos mudos, hablan más fuerte con sus miradas que con cualquier línea de parlamento, y construyen con sus gestos una ansiedad por descubrir qué es lo que está fuera de la imagen; por más que se intuya lo que se está observando, mucho se deja a curiosidad del espectador, como los diálogos entre Jerry su jefe, o las peleas entre Jeanette y Jerry que son narradas a través del rostro de Joe cabizbajo, testigo de la escena, pero no partícipe. Joe es como el espectador, quien solo puede contemplar lo que sucede, y Jeanette en su desesperación, muta de madre y esposa perfecta a adolescente rebelde. El montaje dilata con inteligencia los momentos fuera de campo. Más que sugerir una reacción, invita a la reflexión, a la interiorización de aquello que está sucediendo pero no sabemos qué es. Estimula al espectador a completar el contra plano en una escena de diálogo por un rostro que expresa aquello que para nosotros falta, puede ser una mirada enfurecida, unos ojos incrédulos, o una respuesta ahogada en el silencio. Lo maravilloso es que cada uno tendrá en mente una reacción distinta, y el espectador es libre de malear a discreción pequeños fragmentos del relato.</div><div></div><div style=\"font-style: italic;font-style: italic;\">Jeanette lleva a Joe de paseo al puesto de control frente a las llamas, en la secuencia más preciosa de la película. Joe baja del auto, sabemos que está observando el fuego, pero la necesidad de ver este espectáculo a través de sus ojos se dilata con el suave crepitar de las llamas hasta el punto que dudamos si habrá una recompensa o no. La hay. Joe desea y espera, casi como un deus ex machina, que llegue la nieve que traerá a su padre de regreso a casa. Para él, el regreso de Jerry pondrá fin a los problemas que pudo haber causado su partida. Pero tal como afirma una compañera de Joe, Si el fuego llega, será muy tarde. Para Jeanette y Jerry las llamas llegaron y de hecho, ya fue muy tarde.</div><div>Sus aprendizajes en la fotografía no fueron de utilidad para Joe, ya que él fracasa en congelar ese pequeño momento de su vida, donde todo estaba perfecto, pero quizás con una fotografía de su familia puede al menos, con una sonrisa, recordarlo como tal en un registro falso, pero reconfortante. </div><div style=\"font-weight:bold;\">Trabajo realizado como parte del programa del Master en Crítica Cinematográfica de Aula Crítica</div><div><a href=\"http://aulacritica.com/\" target=\"_top\" rel=\"noopener noreferrer\">http://aulacritica.com/</a></div>','Wildlife (2018)','','inherit','closed','closed','','786-revision-v1','','','2019-12-26 09:16:26','2019-12-26 12:16:26','',786,'http://lapistoladechejov.com/2019/12/26/786-revision-v1/',0,'revision','',0),(1024,2,'2019-12-27 10:46:35','2019-12-27 13:46:35','<h2 style=\"font-weight: bold;\">La tan sufrida adolescencia bajo una mirada realista y sensible.</h2>\nEn un video casero, filmado desde su computadora, Kayla habla sobre la importancia de ser uno mismo y no fingir ser alguien más. Admite que la gran mayoría de sus compañeros piensan que ella no habla mucho, pero que en realidad eso no es verdad. A medida que la cámara se aleja, descubrimos a Kayla, en la esquina de su oscura habitación, en un set improvisado con lámparas como luces y una sábana como tela de fondo. La imagen virtual que proyecta en sus videos no puede estar más alejada a su personalidad real, una chica insegura que intenta entablar, sin éxito, algún tipo de relación con sus compañeros.\n\nA Kayla le queda una semana más de supervivencia en el octavo grado, y quizás una semana más para librarse del estigma de ser la más callada del curso. El espejo de su baño está cubierto en mensajes de motivación, que la incitan a dar lo mejor de ella cada día, y de hecho, lo hace. Su rutina arranca con un video tutorial de maquillaje en YouTube, seguido de una selfie en Snapchat y lista para enfrentar el día. Pero para sus compañeros, absortos en las redes sociales, ella es invisible. Y la tecnología solo dificulta la interacción cara a cara. Con sus rostros pegados a la pantalla, tanto chicas como chicos la ignoran por completo. El sufrimiento que produce este vacío es distinto al de ser humillado, o víctima de bromas constantes, pero es una angustia igual.\n\nCon un tono natural, tanto así que parece un documental, el director Bo Burnham, quien en su adolescencia fue una estrella viral de YouTube, ofrece una mirada realista sobre la adolescencia, esa terrible edad plagada de inseguridad, hormonas y acné, a través de momentos intensos cargados de emociones, tanto malas como buenas. La película se enfoca en las dificultades por las que Kayla atraviesa, sin caer en un tono condescendiente ni abusar en la crueldad. Además, gracias a la fabulosa interpretación de su actriz protagónica Elsie Fisher, podemos compartir con Kayla aquellos pequeños momentos de felicidad que son todo para ella, y para el espectador también.\n<div></div>\n<div></div>','Eighth Grade (2018)','','inherit','closed','closed','','787-revision-v1','','','2019-12-27 10:46:35','2019-12-27 13:46:35','',787,'http://lapistoladechejov.com/2019/12/27/787-revision-v1/',0,'revision','',0),(875,1,'2019-12-26 09:16:27','2019-12-26 12:16:27','<div style=\"font-weight:bold;\">La tan sufrida adolescencia bajo una mirada realista y sensible.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_87fe0697d33a4d22a13e265f519b2b5a~mv2.jpg\" ></div><div>En un video casero, filmado desde su computadora, Kayla habla sobre la importancia de ser uno mismo y no fingir ser alguien más. Admite que la gran mayoría de sus compañeros piensan que ella no habla mucho, pero que en realidad eso no es verdad. A medida que la cámara se aleja, descubrimos a Kayla, en la esquina de su oscura habitación, en un set improvisado con lámparas como luces y una sábana como tela de fondo. La imagen virtual que proyecta en sus videos no puede estar más alejada a su personalidad real, una chica insegura que intenta entablar, sin éxito, algún tipo de relación con sus compañeros.</div><div></div><div>A Kayla le queda una semana más de supervivencia en el octavo grado, y quizás una semana más para librarse del estigma de ser la más callada del curso. El espejo de su baño está cubierto en mensajes de motivación, que la incitan a dar lo mejor de ella cada día, y de hecho, lo hace. Su rutina arranca con un video tutorial de maquillaje en YouTube, seguido de una selfie en Snapchat y lista para enfrentar el día. Pero para sus compañeros, absortos en las redes sociales, ella es invisible. Y la tecnología solo dificulta la interacción cara a cara. Con sus rostros pegados a la pantalla, tanto chicas como chicos la ignoran por completo. El sufrimiento que produce este vacío es distinto al de ser humillado, o víctima de bromas constantes, pero es una angustia igual.</div><div></div><div>Con un tono natural, tanto así que parece un documental, el director Bo Burnham, quien en su adolescencia fue una estrella viral de YouTube, ofrece una mirada realista sobre la adolescencia, esa terrible edad plagada de inseguridad, hormonas y acné, a través de momentos intensos cargados de emociones, tanto malas como buenas. La película se enfoca en las dificultades por las que Kayla atraviesa, sin caer en un tono condescendiente ni abusar en la crueldad. Además, gracias a la fabulosa interpretación de su actriz protagónica Elsie Fisher, podemos compartir con Kayla aquellos pequeños momentos de felicidad que son todo para ella, y para el espectador también.</div><blockquote style=\"font-weight:bold;\">Una escena: Kayla y Gabe en su cita</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Con un tono bastante distinto, pero similar en temática, Welcome to the Dollhouse (1995) de Todd Solondz</blockquote><div></div><div></div>','Eighth Grade (2018)','','inherit','closed','closed','','787-revision-v1','','','2019-12-26 09:16:27','2019-12-26 12:16:27','',787,'http://lapistoladechejov.com/2019/12/26/787-revision-v1/',0,'revision','',0),(1070,2,'2019-12-27 11:28:52','2019-12-27 14:28:52','<h2 style=\"font-weight: bold;\">Una fábula mágica sobre la bondad y la felicidad.</h2>\nLazzaro, un joven campesino ingenuo y optimista, vive en la zona rural de Italia donde sus habitantes trabajan la tierra arduamente en un intento de saldar la deuda que deben (y se siguen acumulando) a la dueña de la propiedad, la Marchesa ­Alfonsina de Luna.\n\nEs confuso determinar en qué época estamos, así como tarea casi imposible hablar de esta película sin ahondar en la trama. Es que en la Inviolata los habitantes se mueven con una sola lámpara, llevan serenatas a sus pretendientes, y no hay indicios de ningún tipo de tecnología, salvo un camión o una motocicleta que irrumpen este espacio congelado en el tiempo. La relación de dependencia laboral insinúa además una esclavitud feudal sostenida a través de los años con la ayuda del cobrador, encargado de mantener bajo control a los campesinos quienes creer ser la propiedad de alguien.\n\nEn este extraño mundo, la bondad de Lazzaro, complaciente a las demandas más insólitas de su familia extendida, sumada a su tierna sonrisa, parece pertenecer a otra realidad, despojada de egoísmo y de relaciones oportunistas.\n\nA mitad de la película, el escenario cambia drásticamente. Lazzaro despierta solo para darse cuenta que perdió todo, todo menos quizás su felicidad. Él emprende una búsqueda incansable, las estaciones avanzan, hasta que vuelve a encontrarse con los personajes de la Inviolata, quienes viven ahora bajo una situación similar o peor, aún presos de las condiciones de pobreza y marginalización social, pero que, de alguna manera, sobreviven.\n\nLa fotografía de la película, grabada en una cámara de 16 milímetros, otorga un tinte sepia y granuloso que remite a un mundo de ensueño en contraposición con la mirada neorrealista y costumbrista del relato. La conjunción resulta en una historia imprevisible, y un viaje a ciegas entre emociones nostálgicas y reflexiones sobre la felicidad.\n\nLazzaro Felice es una fábula mágica sobre la bondad y el tiempo, y la simpleza de su personaje puesto a prueba por la realidad terrenal del mundo hostil, gobernado por el capitalismo despiadado y personas codiciosas. Alice Rohrwacher, la directora, sin escatimar en recursos simbólicos y metafóricos, te pregunta ¿qué te mantiene con vida? ¿La felicidad?','Lazzaro Felice (2018)','','inherit','closed','closed','','788-revision-v1','','','2019-12-27 11:28:52','2019-12-27 14:28:52','',788,'http://lapistoladechejov.com/2019/12/27/788-revision-v1/',0,'revision','',0),(876,1,'2019-12-26 09:16:27','2019-12-26 12:16:27','<div style=\"font-weight:bold;\">Una fábula mágica sobre la bondad y la felicidad.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_54d195b003af4ae985264c9c81283d6f~mv2.jpg\" ></div><div>Lazzaro, un joven campesino ingenuo y optimista, vive en la zona rural de Italia donde sus habitantes trabajan la tierra arduamente en un intento de saldar la deuda que deben (y se siguen acumulando) a la dueña de la propiedad, la Marchesa ­Alfonsina de Luna.</div><div></div><div>Es confuso determinar en qué época estamos, así como tarea casi imposible hablar de esta película sin ahondar en la trama. Es que en la Inviolata los habitantes se mueven con una sola lámpara, llevan serenatas a sus pretendientes, y no hay indicios de ningún tipo de tecnología, salvo un camión o una motocicleta que irrumpen este espacio congelado en el tiempo. La relación de dependencia laboral insinúa además una esclavitud feudal sostenida a través de los años con la ayuda del cobrador, encargado de mantener bajo control a los campesinos quienes creer ser la propiedad de alguien.</div><div></div><div>En este extraño mundo, la bondad de Lazzaro, complaciente a las demandas más insólitas de su familia extendida, sumada a su tierna sonrisa, parece pertenecer a otra realidad, despojada de egoísmo y de relaciones oportunistas. </div><div>A mitad de la película, el escenario cambia drásticamente. Lazzaro despierta solo para darse cuenta que perdió todo, todo menos quizás su felicidad. Él emprende una búsqueda incansable, las estaciones avanzan, hasta que vuelve a encontrarse con los personajes de la Inviolata, quienes viven ahora bajo una situación similar o peor, aún presos de las condiciones de pobreza y marginalización social, pero que, de alguna manera, sobreviven.</div><div></div><div>La fotografía de la película, grabada en una cámara de 16 milímetros, otorga un tinte sepia y granuloso que remite a un mundo de ensueño en contraposición con la mirada neorrealista y costumbrista del relato. La conjunción resulta en una historia imprevisible, y un viaje a ciegas entre emociones nostálgicas y reflexiones sobre la felicidad.</div><div></div><div>Lazzaro Felice es una fábula mágica sobre la bondad y el tiempo, y la simpleza de su personaje puesto a prueba por la realidad terrenal del mundo hostil, gobernado por el capitalismo despiadado y personas codiciosas. Alice Rohrwacher, la directora, sin escatimar en recursos simbólicos y metafóricos, te pregunta ¿qué te mantiene con vida? ¿La felicidad? </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Cuando Lazzaro, sin saberlo, ayuda a los ladrones robar la Inviolata</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Le meraviglie (2014), también de Alice Rohrwacher</blockquote>','Lazzaro Felice (2018)','','inherit','closed','closed','','788-revision-v1','','','2019-12-26 09:16:27','2019-12-26 12:16:27','',788,'http://lapistoladechejov.com/2019/12/26/788-revision-v1/',0,'revision','',0),(1067,2,'2019-12-27 11:27:07','2019-12-27 14:27:07','<h2 style=\"font-weight: bold;\">Buscando al asesino desde una cabina.</h2>\nAsger, un oficial confinado a derivar llamadas telefónicas de emergencia en las cabinas de atención de la estación policial, espera con paciencia que acabe la tediosa jornada. Pero al recibir una llamada de auxilio de una mujer secuestrada, desde su escritorio, hará todo lo posible por salvarla en una carrera contra el tiempo y contra él mismo.\n\n<span style=\"font-family: inherit; font-size: 1rem; letter-spacing: inherit;\">Ambientado en una sola locación, y con el tiempo del relato corriendo a la par que la película, Den Skyldige es el resultado en conjunto de una inteligente puesta en escena sostenida en la actuación, el guión y la dirección construida en función a elevar gradualmente la tensión.</span>\n\nA través de los recursos sonoros se manifiesta un fuera de campo invisible pero perceptible; los silencios, los diálogos, las pisadas y hasta el movimiento del auto que oímos a través del auricular de Asger es nuestro único contacto al mundo fuera de la cabina. La impotencia es tal, que este espacio se convierte en una cárcel, claustrofóbica e indestructible. Gracias a los oídos del protagonista que actúan como los nuestros, escenas transcurren en su totalidad en nuestra imaginación.\n\nLa trama no se concentra en solo de resolver el misterio y encontrar al culpable, sino que indaga en el carácter del personaje y su turbio pasado. De poco, como tirando de un hilo, o persiguiendo pistas que conducen a un callejón sin salida, secretos se develan, pequeños pedazos de información que vuelcan la historia y ponen a prueba nuestra tolerancia.\n\nCon el rostro de Asger en un casi constante primer plano, en la mente del espectador, la violencia adquiere una forma tan horripilante que revuelve las tripas. Cuando \"Mostrar, no contar\" suele ser una regla de oro en el relato cinematográfico, el director Gustav Möller demuestra que sin mostrar nada, o más bien mostrando muy poco, con un policía, un teléfono y dos habitaciones, puede contar mucho más de lo que se dice en las llamadas telefónicas. Una clase magistral de suspenso.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/abaoKA6rn5k?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','The Guilty (2018)','','inherit','closed','closed','','789-revision-v1','','','2019-12-27 11:27:07','2019-12-27 14:27:07','',789,'http://lapistoladechejov.com/2019/12/27/789-revision-v1/',0,'revision','',0),(877,1,'2019-12-26 09:16:28','2019-12-26 12:16:28','<div style=\"font-weight:bold;\">Buscando al asesino desde una cabina.</div><div></div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_07b12fa7ce94477a97a326b08df5473a~mv2.jpg\" ></div><div></div><div>Asger, un oficial confinado a derivar llamadas telefónicas de emergencia en las cabinas de atención de la estación policial, espera con paciencia que acabe la tediosa jornada. Pero al recibir una llamada de auxilio de una mujer secuestrada, desde su escritorio, hará todo lo posible por salvarla en una carrera contra el tiempo y contra él mismo.</div><div></div><blockquote>Ambientado en una sola locación, y con el tiempo del relato corriendo a la par que la película, Den Skyldige es el resultado en conjunto de una inteligente puesta en escena sostenida en la actuación, el guión y la dirección construida en función a elevar gradualmente la tensión.</blockquote><div></div><div>A través de los recursos sonoros se manifiesta un fuera de campo invisible pero perceptible; los silencios, los diálogos, las pisadas y hasta el movimiento del auto que oímos a través del auricular de Asger es nuestro único contacto al mundo fuera de la cabina. La impotencia es tal, que este espacio se convierte en una cárcel, claustrofóbica e indestructible. Gracias a los oídos del protagonista que actúan como los nuestros, escenas transcurren en su totalidad en nuestra imaginación.</div><div></div><div>La trama no se concentra en solo de resolver el misterio y encontrar al culpable, sino que indaga en el carácter del personaje y su turbio pasado. De poco, como tirando de un hilo, o persiguiendo pistas que conducen a un callejón sin salida, secretos se develan, pequeños pedazos de información que vuelcan la historia y ponen a prueba nuestra tolerancia.</div><div></div><div style=\"font-style: italic;\">Con el rostro de Asger en un casi constante primer plano, en la mente del espectador, la violencia adquiere una forma tan horripilante que revuelve las tripas. Cuando \"Mostrar, no contar\" suele ser una regla de oro en el relato cinematográfico, el director Gustav Möller demuestra que sin mostrar nada, o más bien mostrando muy poco, con un policía, un teléfono y dos habitaciones, puede contar mucho más de lo que se dice en las llamadas telefónicas. Una clase magistral de suspenso.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La película tiene nada más que dos escenas, por lo que sería imposible elegir una. </blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Rope (1948)</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/abaoKA6rn5k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','The Guilty (2018)','','inherit','closed','closed','','789-revision-v1','','','2019-12-26 09:16:28','2019-12-26 12:16:28','',789,'http://lapistoladechejov.com/2019/12/26/789-revision-v1/',0,'revision','',0),(1064,2,'2019-12-27 11:24:58','2019-12-27 14:24:58','<h2 style=\"font-weight: bold;\">Preguntas inconclusas y monstruos invisibles.</h2>\nEn un mundo apocalíptico devastado por una fuerza maligna, la única regla para sobrevivir es no mirar. En busca de un refugio seguro, Malorie deberá huir río abajo con sus dos hijos, en un viaje casi imposible de hacerlo con los ojos vendados.\n\nEl último estreno viral de Netflix, Bird Box ha superado visualizaciones en su fin de semana de estreno. ¿Cómo? Gracias, una vez más, a la insistente campaña de marketing de la plataforma, ya que la película, cuya premisa prometía una travesía de supervivencia interesante, es una limitada exploración sobre los temas clásicos subyacentes de las películas del género como la resiliencia humana, el egoísmo, el miedo y la familia.\n\nPara no entrar en comparaciones, la trama se desarrolla en dos momentos. Por un lado, Malorie en el río con sus dos hijos, y por el otro, un relato acelerado de cómo ella logró mantenerse con vida durante el inicio de la epidemia de suicidios masivos. Estos flashbacks, lejos de contribuir a la construcción de nuestra protagonista, entorpecen la historia al dejar afuera quizás lo más interesante: ¿cómo logra una familia vivir a ciegas? Y si ahondamos al nivel del personaje, ¿cómo Malorie supera ese pánico que le genera la maternidad?\n\nLa fuerza maligna, que al parecer adopta la forma de aquello a lo que más uno le teme, es un ente omnipresente que se manifiesta al abrir los ojos. Pero este monstruo, por así llamarlo, más que provocar horror en quienes lo ven, es tan fastidioso como los humanos capaces de mirarlo y no morir, ya que mata porque si, sin razón ni justificación, como una metáfora a una fuerza espiritual inquebrantable.\n\nLos diálogos descriptivos son tan innecesarios como los suicidios explícitos y tan superfluos como la personalidad de los personajes secundarios (un desperdicio de semejante elenco) que pueden ser definidos en una sola línea, la embarazada que no quiere ser madre, la hermana que le gustan los caballos, el impertinente alcohólico , el escritor miedoso, entre otros que construyen una mescolanza incoherente de elementos sueltos unidos sin juicio. Ni hablar de Niño y Niña, que quedan puntualizados ahí, en el nombre de sus personajes. Entre el exagerado uso de tomas a través de las vendas de los personajes, Bird Box despierta muchas preguntas irritantes, desde por qué son pacientes del neuropsiquiátrico los inmunes al ente al cómo hacían para comer o deshacerse de los cuerpos, en un intento insatisfactorio de entretener.\n<div></div>','Bird Box (2018)','','inherit','closed','closed','','790-revision-v1','','','2019-12-27 11:24:58','2019-12-27 14:24:58','',790,'http://lapistoladechejov.com/2019/12/27/790-revision-v1/',0,'revision','',0),(878,1,'2019-12-26 09:16:28','2019-12-26 12:16:28','<div style=\"font-weight:bold;\">Preguntas inconclusas y monstruos invisibles.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_4d81c46c953e49d9a11c712b4aea4900~mv2.png\" ></div><div>En un mundo apocalíptico devastado por una fuerza maligna, la única regla para sobrevivir es no mirar. En busca de un refugio seguro, Malorie deberá huir río abajo con sus dos hijos, en un viaje casi imposible de hacerlo con los ojos vendados.</div><div></div><div>El último estreno viral de Netflix, Bird Box ha superado visualizaciones en su fin de semana de estreno. ¿Cómo? Gracias, una vez más, a la insistente campaña de marketing de la plataforma, ya que la película, cuya premisa prometía una travesía de supervivencia interesante, es una limitada exploración sobre los temas clásicos subyacentes de las películas del género como la resiliencia humana, el egoísmo, el miedo y la familia.</div><div></div><div style=\"font-style: italic;\">Para no entrar en comparaciones, la trama se desarrolla en dos momentos. Por un lado, Malorie en el río con sus dos hijos, y por el otro, un relato acelerado de cómo ella logró mantenerse con vida durante el inicio de la epidemia de suicidios masivos. Estos flashbacks, lejos de contribuir a la construcción de nuestra protagonista, entorpecen la historia al dejar afuera quizás lo más interesante: ¿cómo logra una familia vivir a ciegas? Y si ahondamos al nivel del personaje, ¿cómo Malorie supera ese pánico que le genera la maternidad?</div><div></div><div>La fuerza maligna, que al parecer adopta la forma de aquello a lo que más uno le teme, es un ente omnipresente que se manifiesta al abrir los ojos. Pero este monstruo, por así llamarlo, más que provocar horror en quienes lo ven, es tan fastidioso como los humanos capaces de mirarlo y no morir, ya que mata porque si, sin razón ni justificación, como una metáfora a una fuerza espiritual inquebrantable. </div><div></div><div>Los diálogos descriptivos son tan innecesarios como los suicidios explícitos y tan superfluos como la personalidad de los personajes secundarios (un desperdicio de semejante elenco) que pueden ser definidos en una sola línea, la embarazada que no quiere ser madre, la hermana que le gustan los caballos, el impertinente alcohólico , el escritor miedoso, entre otros que construyen una mescolanza incoherente de elementos sueltos unidos sin juicio. Ni hablar de Niño y Niña, que quedan puntualizados ahí, en el nombre de sus personajes. Entre el exagerado uso de tomas a través de las vendas de los personajes, Bird Box despierta muchas preguntas irritantes, desde por qué son pacientes del neuropsiquiátrico los inmunes al ente al cómo hacían para comer o deshacerse de los cuerpos, en un intento insatisfactorio de entretener.</div><blockquote style=\"font-weight:bold;\">La peor escena: La llegada del intruso a la casa</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: A Quiet Place (2018)</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/MPWMBITCudM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Bird Box (2018)','','inherit','closed','closed','','790-revision-v1','','','2019-12-26 09:16:28','2019-12-26 12:16:28','',790,'http://lapistoladechejov.com/2019/12/26/790-revision-v1/',0,'revision','',0),(1062,2,'2019-12-27 11:21:43','2019-12-27 14:21:43','<h2 style=\"font-weight: bold;\">Un romance sin límites ni tiempo.</h2>\nEn las abandonadas ruinas de Polonia posterior a la Segunda Guerra Mundial y en medio de la Guerra Fría, Wiktor conoce a Zula. Él, un director de orquesta en la búsqueda de voces autóctonas para conformar un ensamble musical; ella, una joven de voz talentosa y carácter enérgico. A pesar de sus diferencias ideológicas y de las complicaciones políticas de la época, se enamoran perdidamente. Cold War es la historia de amor entre ambos, condenados a encuentros esporádicos y desencuentros corrosivos a lo largo de los años.\n\nDesde el primer encuentro hasta el último, en un relato que salta los años, Cold War seduce con sus dos personajes protagónicos, que sufren al estar separados pero que juntos ponen en realce sus diferencias e incompatibilidades. Los años pasan, el mundo cambia a sus espaldas, y ellos buscan la manera de encontrarse ya sea en un bar de París, en un teatro de Yugoslavia o en un baño de Polonia. La nostálgica fotografía en blanco y negro, y la inusual relación de aspecto 4:3 (que se aproxima más al formato cuadrado que al rectangular widescreen) comprime a los personajes con tanta fuerza como la imposibilidad de huir juntos a un lugar idílico no contaminado por la historia. Con insistencia, el director Pawel Pawlikowski sitúa a sus personajes en el tercio inferior del cuadro, casi al borde la pantalla, con la intención de delimitar una prisión visual que enfatiza el carácter de inferioridad de los amantes frente mundo. Los movimientos de cámara son tan sutiles y a la vez tan rígidos, que la cámara adquiere libertad únicamente cuando sus personajes lo hacen, ya sea en un encuentro inconsolable en un bar de jazz o al ritmo del rock sobre la mesa de una barra.\n\nA través de las décadas, la música conecta los encuentros de Wiktor y Zula, cargados de nostalgia y salpicados por nuevas ideas acerca del arte y la libertad. Zula canta Dos Corazones, una canción popular folklórica acerca de un amor imposible, que muta con el tiempo en una melodía de jazz compuesta por Wiktor y grabada en un estudio. Los años pasan y ellos también van cambiando, pero algo permanece, y es el trágico destino de sufrir por un amor desesperado que no conoce las fronteras ni el tiempo.','Cold War (2018)','','inherit','closed','closed','','791-revision-v1','','','2019-12-27 11:21:43','2019-12-27 14:21:43','',791,'http://lapistoladechejov.com/2019/12/27/791-revision-v1/',0,'revision','',0),(879,1,'2019-12-26 09:16:29','2019-12-26 12:16:29','<div style=\"font-weight:bold;\">Un romance sin límites ni tiempo.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_cf04b87a04434d2d8d9d4b829edc1d4d~mv2.jpg\" ></div><div>En las abandonadas ruinas de Polonia posterior a la Segunda Guerra Mundial y en medio de la Guerra Fría, Wiktor conoce a Zula. Él, un director de orquesta en la búsqueda de voces autóctonas para conformar un ensamble musical; ella, una joven de voz talentosa y carácter enérgico. A pesar de sus diferencias ideológicas y de las complicaciones políticas de la época, se enamoran perdidamente. Cold War es la historia de amor entre ambos, condenados a encuentros esporádicos y desencuentros corrosivos a lo largo de los años.</div><div style=\"font-style: italic;\">Desde el primer encuentro hasta el último, en un relato que salta los años, Cold War seduce con sus dos personajes protagónicos, que sufren al estar separados pero que juntos ponen en realce sus diferencias e incompatibilidades. Los años pasan, el mundo cambia a sus espaldas, y ellos buscan la manera de encontrarse ya sea en un bar de París, en un teatro de Yugoslavia o en un baño de Polonia. La nostálgica fotografía en blanco y negro, y la inusual relación de aspecto 4:3 (que se aproxima más al formato cuadrado que al rectangular widescreen) comprime a los personajes con tanta fuerza como la imposibilidad de huir juntos a un lugar idílico no contaminado por la historia. Con insistencia, el director Pawel Pawlikowski sitúa a sus personajes en el tercio inferior del cuadro, casi al borde la pantalla, con la intención de delimitar una prisión visual que enfatiza el carácter de inferioridad de los amantes frente mundo. Los movimientos de cámara son tan sutiles y a la vez tan rígidos, que la cámara adquiere libertad únicamente cuando sus personajes lo hacen, ya sea en un encuentro inconsolable en un bar de jazz o al ritmo del rock sobre la mesa de una barra.</div><div></div><div>A través de las décadas, la música conecta los encuentros de Wiktor y Zula, cargados de nostalgia y salpicados por nuevas ideas acerca del arte y la libertad. Zula canta Dos Corazones, una canción popular folklórica acerca de un amor imposible, que muta con el tiempo en una melodía de jazz compuesta por Wiktor y grabada en un estudio. Los años pasan y ellos también van cambiando, pero algo permanece, y es el trágico destino de sufrir por un amor desesperado que no conoce las fronteras ni el tiempo.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Wiktor y Zula bailando abrazados en un bar de jazz</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Ida (2013) de Pawel Pawlikowski</blockquote>','Cold War (2018)','','inherit','closed','closed','','791-revision-v1','','','2019-12-26 09:16:29','2019-12-26 12:16:29','',791,'http://lapistoladechejov.com/2019/12/26/791-revision-v1/',0,'revision','',0),(1057,2,'2019-12-27 11:18:01','2019-12-27 14:18:01','<h2 style=\"font-weight: bold;\">La belleza de los recuerdos.</h2>\nSituada en México durante la década de los 70, Roma (2018) narra la vida de una empleada doméstica que trabaja para una familia de clase media en un barrio de la capital mexicana.\n\nDirigida por Alfonso Cuarón, Roma inicia con los créditos sobre el piso del garaje de la casa. Solo a través de los ruidos, escuchamos a alguien baldear el suelo, fregar con la escoba y escurrir el agua hacia la canaleta. En el reflejo del agua se proyecta la casa y más allá, ya por encima de las nubes, un avión cruza el cielo. Un avión tan imperceptible y tan perecedero como la vida misma de los personajes que van a palpitar en el relato.\n\nLa protagonista de la película es Cleo, una mujer que se ocupa de todos los quehaceres del hogar, desde despertar al hijo más pequeño hasta preparar el té de manzanilla del padre cuando él regresa bien entrada la noche. Cleo convive con la familia en un vago limbo entre familiar y empleada. Es que pasa tanto tiempo en la casa que a medida que los hijos crecen, ella también lo hace. Ella es testigo silenciosa a lo que sucede en el hogar, las disputas, las peleas y los abrazos. Es cómplice cuándo conviene para la madre, su empleadora, pero intrusa cuando sus intervenciones no son pertinentes o la posicionan en una postura vergonzosa. Ella es parte de la familia pero a la vez una foránea, una extraña que sabe mucho más de ellos que lo que ellos saben de ella.\n\nCada cuadro y cada escena posee una profundidad de campo que trasciende lo visual para propagarse al nivel de la historia. En primer lugar está Cleo, su mundo, su pequeña pieza compartida y su amante. Luego está ella en la familia, entre los labores domésticos y las canciones de cuna en mixteco. Por último, pero no menos importante, está el mundo afuera de la casa y la situación sociopolítica de México que completa el universo de Roma en un nivel de detalle tan palpable que nos vuelve a enamorar de la vida. Los escasos primeros planos son un regalo al deseo de acercarnos más a los personajes como un intento de aprehender un sueño.\n\nNuestra mirada es limitada y direccionada a través de sutiles movimientos de cámara que describen cada rincón del espacio y del momento. Somos testigos de caricias que se convierten en abrazos, de mentiras que se esfuman bajo las puertas cerradas y lágrimas contenidas que brotan cuando menos se las espera. El realismo detallado de la fotografía, de la mano del mismo Cuarón, se despoja de los colores para retratar una memoria que se despliega ante nuestros ojos como un recuerdo angustioso que perdura con regocijo.\n\nEn cuanto a la narración se refiere, cada escena, por más que parezca que no sucede mucho, resplandece con la belleza de lo cotidiano y esa observación minuciosa hacia los detalles que envuelven la rutina del día a día. El granizo, el fuego y el mar se convierten en elementos catalizadores de los momentos más álgidos de la trama y la profundidad de campo en recurso desgarrador para construir la aflicción de las escenas más dolorosas.\n\nRoma es un homenaje a Libo, la mujer que crió a Cuarón durante su infancia, pero también es sobre la memoria y los recuerdos, el amor y la falta de amor, la angustia y la pérdida. Roma es una veneración a la resiliencia humana que invita a reflexionar sobre aquellas personas invisibles en nuestras vidas, quienes tuvieron el poder especial de sostenerse en un pie con los ojos cerrados. La vida cotidiana nunca fue observada con tanta delicadeza ni sensibilidad.','Roma (2018)','','inherit','closed','closed','','792-revision-v1','','','2019-12-27 11:18:01','2019-12-27 14:18:01','',792,'http://lapistoladechejov.com/2019/12/27/792-revision-v1/',0,'revision','',0),(880,1,'2019-12-26 09:16:29','2019-12-26 12:16:29','<div style=\"font-weight:bold;\">La belleza de los recuerdos.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_1c49c5c8954d43bbabf8fce83972b163~mv2_d_1920_1228_s_2.jpg\" ></div><div style=\"font-style: italic;\">Situada en México durante la década de los 70, Roma (2018) narra la vida de una empleada doméstica que trabaja para una familia de clase media en un barrio de la capital mexicana.</div><div></div><div style=\"font-style: italic;\">Dirigida por Alfonso Cuarón, Roma inicia con los créditos sobre el piso del garaje de la casa. Solo a través de los ruidos, escuchamos a alguien baldear el suelo, fregar con la escoba y escurrir el agua hacia la canaleta. En el reflejo del agua se proyecta la casa y más allá, ya por encima de las nubes, un avión cruza el cielo. Un avión tan imperceptible y tan perecedero como la vida misma de los personajes que van a palpitar en el relato.</div><div></div><div>La protagonista de la película es Cleo, una mujer que se ocupa de todos los quehaceres del hogar, desde despertar al hijo más pequeño hasta preparar el té de manzanilla del padre cuando él regresa bien entrada la noche. Cleo convive con la familia en un vago limbo entre familiar y empleada. Es que pasa tanto tiempo en la casa que a medida que los hijos crecen, ella también lo hace. Ella es testigo silenciosa a lo que sucede en el hogar, las disputas, las peleas y los abrazos. Es cómplice cuándo conviene para la madre, su empleadora, pero intrusa cuando sus intervenciones no son pertinentes o la posicionan en una postura vergonzosa. Ella es parte de la familia pero a la vez una foránea, una extraña que sabe mucho más de ellos que lo que ellos saben de ella.</div><div></div><div>Cada cuadro y cada escena posee una profundidad de campo que trasciende lo visual para propagarse al nivel de la historia. En primer lugar está Cleo, su mundo, su pequeña pieza compartida y su amante. Luego está ella en la familia, entre los labores domésticos y las canciones de cuna en mixteco. Por último, pero no menos importante, está el mundo afuera de la casa y la situación sociopolítica de México que completa el universo de Roma en un nivel de detalle tan palpable que nos vuelve a enamorar de la vida. Los escasos primeros planos son un regalo al deseo de acercarnos más a los personajes como un intento de aprehender un sueño.  </div><div></div><div>Nuestra mirada es limitada y direccionada a través de sutiles movimientos de cámara que describen cada rincón del espacio y del momento. Somos testigos de caricias que se convierten en abrazos, de mentiras que se esfuman bajo las puertas cerradas y lágrimas contenidas que brotan cuando menos se las espera. El realismo detallado de la fotografía, de la mano del mismo Cuarón, se despoja de los colores para retratar una memoria que se despliega ante nuestros ojos como un recuerdo angustioso que perdura con regocijo.</div><div></div><div>En cuanto a la narración se refiere, cada escena, por más que parezca que no sucede mucho, resplandece con la belleza de lo cotidiano y esa observación minuciosa hacia los detalles que envuelven la rutina del día a día. El granizo, el fuego y el mar se convierten en elementos catalizadores de los momentos más álgidos de la trama y la profundidad de campo en recurso desgarrador para construir la aflicción de las escenas más dolorosas. </div><div></div><div style=\"font-style: italic;font-style: italic;\">Roma es un homenaje a Libo, la mujer que crió a Cuarón durante su infancia, pero también es sobre la memoria y los recuerdos, el amor y la falta de amor, la angustia y la pérdida. Roma es una veneración a la resiliencia humana que invita a reflexionar sobre aquellas personas invisibles en nuestras vidas, quienes tuvieron el poder especial de sostenerse en un pie con los ojos cerrados. La vida cotidiana nunca fue observada con tanta delicadeza ni sensibilidad. </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Cleo y Pepe acostados bajo el sol de la terraza</blockquote>','Roma (2018)','','inherit','closed','closed','','792-revision-v1','','','2019-12-26 09:16:29','2019-12-26 12:16:29','',792,'http://lapistoladechejov.com/2019/12/26/792-revision-v1/',0,'revision','',0),(1055,2,'2019-12-27 11:12:57','2019-12-27 14:12:57','<h2 style=\"font-weight: bold;\">La felicidad subordinada al título.</h2>\nAl cumplir 52 años, Manana anuncia a que irá a vivir a un departamento sola. La noticia sorprende a cada integrante de la familia con los cuales ha convivido 30 años; su esposo, sus hijos y sus padres no pueden comprender el motivo de su partida ni le toman en serio hasta que ella junta sus pertenencias en una valija y se marcha.\n\nManana se resiste a dar explicaciones pese a la presión sofocante que ejercen sus familiares en esperas a que vuelva, y, alejada de las discusiones, descubre los placeres de la vida solitaria y tranquila. Con profundo realismo, los directores georgianos Nana Ekvtimishvili y Simon Groß retratan una mujer que atraviesa por un proceso de reconstrucción dentro de un escenario sencillo y cotidiano, con una narrativa sensible cuyo peso recae sobre la brillante actuación protagónica de Ia Shugliashvili.\n\nLa puesta en escena de las disputas familiares, narradas con cruda honestidad pero sin caer en exageraciones, no solo justifican el anhelo de Manana pero ofrecen un retrato de una familia dependiente que sofoca con culpa y ama con necesidad, subyugada a los roles de género y expectativas de la sociedad.\n\nEl idioma puede resultar extraño a nuestros oídos, pero es innegable la universalidad del tema subyacente y la mirada crítica al mundo patriarcal donde la felicidad de una mujer puesta en prioridad es algo inconcebible, ni que decir su independencia.','My Happy Family (2017)','','inherit','closed','closed','','793-revision-v1','','','2019-12-27 11:12:57','2019-12-27 14:12:57','',793,'http://lapistoladechejov.com/2019/12/27/793-revision-v1/',0,'revision','',0),(881,1,'2019-12-26 09:16:30','2019-12-26 12:16:30','<div style=\"font-weight:bold;\">La felicidad subordinada al título.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_d7ba2153fd4d4c519499b3e021264539~mv2.jpg\" ></div><div>Al cumplir 52 años, Manana anuncia a que irá a vivir a un departamento sola. La noticia sorprende a cada integrante de la familia con los cuales ha convivido 30 años; su esposo, sus hijos y sus padres no pueden comprender el motivo de su partida ni le toman en serio hasta que ella junta sus pertenencias en una valija y se marcha.</div><div></div><div>Manana se resiste a dar explicaciones pese a la presión sofocante que ejercen sus familiares en esperas a que vuelva, y, alejada de las discusiones, descubre los placeres de la vida solitaria y tranquila. Con profundo realismo, los directores georgianos Nana Ekvtimishvili y Simon Groß retratan una mujer que atraviesa por un proceso de reconstrucción dentro de un escenario sencillo y cotidiano, con una narrativa sensible cuyo peso recae sobre la brillante actuación protagónica de Ia Shugliashvili.</div><div></div><div>La puesta en escena de las disputas familiares, narradas con cruda honestidad pero sin caer en exageraciones, no solo justifican el anhelo de Manana pero ofrecen un retrato de una familia dependiente que sofoca con culpa y ama con necesidad, subyugada a los roles de género y expectativas de la sociedad.</div><div></div><div>El idioma puede resultar extraño a nuestros oídos, pero es innegable la universalidad del tema subyacente y la mirada crítica al mundo patriarcal donde la felicidad de una mujer puesta en prioridad es algo inconcebible, ni que decir su independencia.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Cuando Manana sale de la casa</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Aquarius (2016)</blockquote>','My Happy Family (2017)','','inherit','closed','closed','','793-revision-v1','','','2019-12-26 09:16:30','2019-12-26 12:16:30','',793,'http://lapistoladechejov.com/2019/12/26/793-revision-v1/',0,'revision','',0),(1052,2,'2019-12-27 11:10:03','2019-12-27 14:10:03','<h2 style=\"font-weight: bold;\">Nostálgicamente entretenida.</h2>\nProponerse la realización de una película biográfica sobre una de las mayores bandas de rock de todos los tiempos no es tarea fácil, y más aún cuando la banda retratada es Queen, inmortalizada por sus músicas que trascendían los géneros y rompían los límites de lo convencional. Bohemian Rhapsody de Brayn Singer es un resultado bastante entretenido que explora el proceso creativo de la banda y la frágil personalidad Freddie subyacente a su extravagante carácter.\n\nPodríamos poner bajo tela de juicio ciertas licencias narrativas tomadas, como por ejemplo el hecho de que en realidad Freddie fue diagnosticado con SIDA recién en 1987, dos años después del emblemático concierto benéfico Live Aid donde él dio su mejor actuación, pero el dramatismo que otorga este cambio en función a honrar su figura legendaria lo recibo con gusto y me sumerjo dentro del público en una secuencia de casi veinte minutos realizada con una destreza cinematográfica que eriza la piel.\n\nRescato la decisión de dejar afuera ciertos momentos de la vida de Freddie, como por ejemplo sus últimos días enfermo y moribundo, en función a glorificar aún más su legado como artista y persona. De la misma manera, estoy segura que muchos detalles o momentos de la carrera de la banda fueron dejados de lado pero la película no deja de ser entretenida de principio a fin por más que pretende abarcar una audiencia masiva. Es imposible no deleitarse con la personificación que realiza Rami Malek del majetuoso Freddi Mercury, que tambalea entre la vulnerabilidad y la aparente autoconfianza, así como pretender no vibrar con las canciones y salir de cine cargados de nostalgia.','Bohemian Rhapsody (2018)','','inherit','closed','closed','','794-revision-v1','','','2019-12-27 11:10:03','2019-12-27 14:10:03','',794,'http://lapistoladechejov.com/2019/12/27/794-revision-v1/',0,'revision','',0),(882,1,'2019-12-26 09:16:31','2019-12-26 12:16:31','<div style=\"font-weight:bold;\">Nostálgicamente entretenida.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_44190cac9b474397ae93869b2a5dd809~mv2.jpg\" ></div><div> </div><div>Proponerse la realización de una película biográfica sobre una de las mayores bandas de rock de todos los tiempos no es tarea fácil, y más aún cuando la banda retratada es Queen, inmortalizada por sus músicas que trascendían los géneros y rompían los límites de lo convencional. Bohemian Rhapsody de Brayn Singer es un resultado bastante entretenido que explora el proceso creativo de la banda y la frágil personalidad Freddie subyacente a su extravagante carácter.</div><div></div><div>Podríamos poner bajo tela de juicio ciertas licencias narrativas tomadas, como por ejemplo el hecho de que en realidad Freddie fue diagnosticado con SIDA recién en 1987, dos años después del emblemático concierto benéfico Live Aid donde él dio su mejor actuación, pero el dramatismo que otorga este cambio en función a honrar su figura legendaria lo recibo con gusto y me sumerjo dentro del público en una secuencia de casi veinte minutos realizada con una destreza cinematográfica que eriza la piel.</div><div></div><div>Rescato la decisión de dejar afuera ciertos momentos de la vida de Freddie, como por ejemplo sus últimos días enfermo y moribundo, en función a glorificar aún más su legado como artista y persona. De la misma manera, estoy segura que muchos detalles o momentos de la carrera de la banda fueron dejados de lado pero la película no deja de ser entretenida de principio a fin por más que pretende abarcar una audiencia masiva. Es imposible no deleitarse con la personificación que realiza Rami Malek del majetuoso Freddi Mercury, que tambalea entre la vulnerabilidad y la aparente autoconfianza, así como pretender no vibrar con las canciones y salir de cine cargados de nostalgia.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La secuencia inicial pre concierto Live Aid</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Almost Famous (2000)</blockquote>','Bohemian Rhapsody (2018)','','inherit','closed','closed','','794-revision-v1','','','2019-12-26 09:16:31','2019-12-26 12:16:31','',794,'http://lapistoladechejov.com/2019/12/26/794-revision-v1/',0,'revision','',0),(1049,2,'2019-12-27 11:06:16','2019-12-27 14:06:16','<h2 style=\"font-weight: bold;\">Seduciendo con violencia y erotismo.</h2>\nSituada en Argentina en los años 70, El Ángel narra la historia de Carlitos Robledo Puch, un criminal y sociópata de particular belleza andrógina que con tan solo 20 años fue condenado a cadena perpetua por una larga lista de crímenes que le otorgaron el apodo de El Ángel de la Muerte.\n\nDurante los años 70, cuando los estudios de criminología establecían un enlace de correspondencia entre la apariencia física degenerada de un criminal y su personalidad desequilibrada, la sola presencia de Carlitos, con sus bucles dorados y labios carnosos, seducía y enamoraba con la misma facilidad que él apretaba gatillo del arma.\n\nCarlitos forma una pequeña banda de ladrones junto con su compañero de colegio Ramón y su familia, gracias a los cuales consigue acceso a armas de fuego y ejecutan atracos más complejos y arriesgados. La dupla Carlitos y Ramón cargada de erotismo y violencia seduce entre joyas y asesinatos a sangre fría, donde el antihéroe protagonista cautiva sin esfuerzo por encima de su personalidad narcisista y su moralidad construida en base a códigos propios.\n\nCon movimientos sensuales de cadera al ritmo de una acertada banda sonora, Carlitos se cuestiona al inicio el valor otorgado a la libertad, y juzga de locos a aquellos que no buscan vivir bajo sus propios impulsos. Luis Ortega no pretende contestar esta pregunta ni comprender los sucesos que quizás hayan alterado la vida de un chico nacido en el seno de una familia honesta y bastante típica, pero con una destreza visual poética narra los acontecimientos que desembocaron en los múltiples homicidios por el cual fue después condenado el Ángel.','El Ángel (2018)','','inherit','closed','closed','','795-revision-v1','','','2019-12-27 11:06:16','2019-12-27 14:06:16','',795,'http://lapistoladechejov.com/2019/12/27/795-revision-v1/',0,'revision','',0),(883,1,'2019-12-26 09:16:31','2019-12-26 12:16:31','<div style=\"font-weight:bold;\">Seduciendo con violencia y erotismo.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_e023e46c68f8474ea989ef3700c498cb~mv2.png\" ></div><div> </div><div>Situada en Argentina en los años 70, El Ángel narra la historia de Carlitos Robledo Puch, un criminal y sociópata de particular belleza andrógina que con tan solo 20 años fue condenado a cadena perpetua por una larga lista de crímenes que le otorgaron el apodo de El Ángel de la Muerte.</div><div></div><div>Durante los años 70, cuando los estudios de criminología establecían un enlace de correspondencia entre la apariencia física degenerada de un criminal y su personalidad desequilibrada, la sola presencia de Carlitos, con sus bucles dorados y labios carnosos, seducía y enamoraba con la misma facilidad que él apretaba gatillo del arma.</div><div></div><div>Carlitos forma una pequeña banda de ladrones junto con su compañero de colegio Ramón y su familia, gracias a los cuales consigue acceso a armas de fuego y ejecutan atracos más complejos y arriesgados. La dupla Carlitos y Ramón cargada de erotismo y violencia seduce entre joyas y asesinatos a sangre fría, donde el antihéroe protagonista cautiva sin esfuerzo por encima de su personalidad narcisista y su moralidad construida en base a códigos propios.</div><div></div><div>Con movimientos sensuales de cadera al ritmo de una acertada banda sonora, Carlitos se cuestiona al inicio el valor otorgado a la libertad, y juzga de locos a aquellos que no buscan vivir bajo sus propios impulsos. Luis Ortega no pretende contestar esta pregunta ni comprender los sucesos que quizás hayan alterado la vida de un chico nacido en el seno de una familia honesta y bastante típica, pero con una destreza visual poética narra los acontecimientos que desembocaron en los múltiples homicidios por el cual fue después condenado el Ángel.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Cuando Carlitos coloca las joyas robadas sobre Ramón</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: El Clan (2015)</blockquote>','El Ángel (2018)','','inherit','closed','closed','','795-revision-v1','','','2019-12-26 09:16:31','2019-12-26 12:16:31','',795,'http://lapistoladechejov.com/2019/12/26/795-revision-v1/',0,'revision','',0),(1046,2,'2019-12-27 11:03:43','2019-12-27 14:03:43','<h2 style=\"font-weight: bold;\">Cuando la historia del arte cambia de protagonista.</h2>\nDirigido por Christian Schwochow, Paula narra la vida de la artista alemana Paula Modersohn-Becker, una de las precursoras del modernismo a principios del siglo XX. Incomprendida en su época, sus pinturas se asimilaban al estilo pictórico de Paul Cézanne, con diferencias en los temas de interés de Paula quien se enfocaba casi en su totalidad en retratar mujeres realizando labores cotidianos o al desnudo.\n\nCuando la historia del arte (y de la humanidad en general) tal como la conocemos hoy en día posee un punto de vista masculino, es maravilloso descubrir la vida de mujeres nacidas injustamente en un mundo patriarcal donde la lucha por vivir como artista se enfrentaba no solo a las estructuras y pre concepciones del arte clásico sino también a las exigencias esperadas de ella como mujer, y por consecuencia, su rol como madre y ama de casa devota a las tareas del hogar. Pero la ambición de Paula y sus deseos por pintar al menos tres buenos cuadros, tal como lo dice en la película, la condujeron en la búsqueda incansable de espacios alternativos donde potenciar su arte y la particular manera que tenía de mirar al mundo.\n\nPaula fue criticada una y otra vez por otros artistas hombres, quienes hasta incluso abarajaron la posibilidad de internarla en una institución psiquiátrica con el objetivo de rectificar lo que ellos consideraban desviaciones anormales en una mujer manifestadas en su carácter desenvuelto y en su afán por retratar desnudos. Paula Becker no solo fue una de las precursoras más precoces del expresionismo en Alemania, sino además fue la primera en realizar un autorretrato al desnudo.\n\nLa película es un retrato feminista de la artista, quien a pesar de ser el hazmerreír de las personas que le rodeaban y víctima de la era en la que le tocó vivir, siguió pintando buscando su libertad creativa como mujer y artista.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/2m69Yz1-Z60?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Paula (2016)','','inherit','closed','closed','','796-revision-v1','','','2019-12-27 11:03:43','2019-12-27 14:03:43','',796,'http://lapistoladechejov.com/2019/12/27/796-revision-v1/',0,'revision','',0),(884,1,'2019-12-26 09:16:32','2019-12-26 12:16:32','<div style=\"font-weight:bold;\">Cuando la historia del arte cambia de protagonista.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_fb3961218b4d4f4e8fa05f59981c3957~mv2.jpg\" ></div><div> </div><div>Dirigido por Christian Schwochow, Paula narra la vida de la artista alemana Paula Modersohn-Becker, una de las precursoras del modernismo a principios del siglo XX. Incomprendida en su época, sus pinturas se asimilaban al estilo pictórico de Paul Cézanne, con diferencias en los temas de interés de Paula quien se enfocaba casi en su totalidad en retratar mujeres realizando labores cotidianos o al desnudo.</div><div></div><div>Cuando la historia del arte (y de la humanidad en general) tal como la conocemos hoy en día posee un punto de vista masculino, es maravilloso descubrir la vida de mujeres nacidas injustamente en un mundo patriarcal donde la lucha por vivir como artista se enfrentaba no solo a las estructuras y pre concepciones del arte clásico sino también a las exigencias esperadas de ella como mujer, y por consecuencia, su rol como madre y ama de casa devota a las tareas del hogar. Pero la ambición de Paula y sus deseos por pintar al menos tres buenos cuadros, tal como lo dice en la película, la condujeron en la búsqueda incansable de espacios alternativos donde potenciar su arte y la particular manera que tenía de mirar al mundo.</div><div></div><div>Paula fue criticada una y otra vez por otros artistas hombres, quienes hasta incluso abarajaron la posibilidad de internarla en una institución psiquiátrica con el objetivo de rectificar lo que ellos consideraban desviaciones anormales en una mujer manifestadas en su carácter desenvuelto y en su afán por retratar desnudos. Paula Becker no solo fue una de las precursoras más precoces del expresionismo en Alemania, sino además fue la primera en realizar un autorretrato al desnudo.</div><div></div><div>La película es un retrato feminista de la artista, quien a pesar de ser el hazmerreír de las personas que le rodeaban y víctima de la era en la que le tocó vivir, siguió pintando buscando su libertad creativa como mujer y artista.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: El plano final de la película</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Big Eyes (2014)</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/2m69Yz1-Z60?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Paula (2016)','','inherit','closed','closed','','796-revision-v1','','','2019-12-26 09:16:32','2019-12-26 12:16:32','',796,'http://lapistoladechejov.com/2019/12/26/796-revision-v1/',0,'revision','',0),(1043,2,'2019-12-27 11:00:50','2019-12-27 14:00:50','<h2 style=\"font-weight: bold;\">Construyendo suspenso sobre una premisa atípica.</h2>\nHan pasado muchos años desde que Byung-soo ha matado a alguien. Ahora, él es un asesino serial retirado que sufre de Alzheimer y vive con su hija Eun-hee, quien se encarga de rescatarle cuando él se desorienta o pierde en los bosques de bambú. Un día de regreso a su casa, Byung-soo choca contra un extraño y al encontrar sangre en el maletero trasero, sospecha que él también un asesino serial. Pero deberá luchar contra su memoria traicionera para salvar a su hija de este misterioso personaje. Ya desde un inicio, la premisa es cautivante.\n\nBasada en el libro de Kim Young-ha, Memoir of a Murderer construye el misterio a través del juego de persecución entre los dos asesinos. Desesperante, y con una utilización narrativa acertada de saltos en el tiempo, la historia es relatada a través de los recuerdos que va contando Byung-soo, y como espectadores víctimas de su foco, estamos supeditados a los lapsos de lucidez por el cual él atraviesa. La tensión es generada por el suspenso de saber más que nuestro protagonista y nuestro enemigo, y a sabiendas que en cualquier momento ambos se enfrentarán y las cosas saldrán bien, o mal para ellos.\n\nMe resulta curioso encontrar similitudes de ciertos estereotipos latentes en nuestro cine y el cine de Corea del Sur; uno de estos aspectos sin duda es la representación de la fuerza de la ley como inepta y por lo tanto los policías son siempre bufones torpes incapaces de resolver crímenes que ocurren frente a sus ojos.\n\nEs mucho menos sangrienta a lo que su título podría sugerir y la fotografía de la película ofrece un goce visual estético con las escenas Byung-soo en los bosques de bambú o con las escenas en la nieve complementados con una paleta oscura en concordancia con el tono. Sin lugar a dudas, Memoir of a Murderer de Shin-yeon Won se destaca entre las películas coreanas de crimen y misterio.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/QAGZ9srTHDM?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Memoir of a Murderer (2017)','','inherit','closed','closed','','797-revision-v1','','','2019-12-27 11:00:50','2019-12-27 14:00:50','',797,'http://lapistoladechejov.com/2019/12/27/797-revision-v1/',0,'revision','',0),(885,1,'2019-12-26 09:16:32','2019-12-26 12:16:32','<div style=\"font-weight:bold;\">Construyendo suspenso sobre una premisa atípica.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_8a3f2dce9076493baf17aa8c74ffd79c~mv2.jpg\" ></div><div> </div><div> </div><div>Han pasado muchos años desde que Byung-soo ha matado a alguien. Ahora, él es un asesino serial retirado que sufre de Alzheimer y vive con su hija Eun-hee, quien se encarga de rescatarle cuando él se desorienta o pierde en los bosques de bambú. Un día de regreso a su casa, Byung-soo choca contra un extraño y al encontrar sangre en el maletero trasero, sospecha que él también un asesino serial. Pero deberá luchar contra su memoria traicionera para salvar a su hija de este misterioso personaje. Ya desde un inicio, la premisa es cautivante.  </div><div></div><div>Basada en el libro de Kim Young-ha, Memoir of a Murderer construye el misterio a través del juego de persecución entre los dos asesinos. Desesperante, y con una utilización narrativa acertada de saltos en el tiempo, la historia es relatada a través de los recuerdos que va contando Byung-soo, y como espectadores víctimas de su foco, estamos supeditados a los lapsos de lucidez por el cual él atraviesa. La tensión es generada por el suspenso de saber más que nuestro protagonista y nuestro enemigo, y a sabiendas que en cualquier momento ambos se enfrentarán y las cosas saldrán bien, o mal para ellos.</div><div></div><div>Me resulta curioso encontrar similitudes de ciertos estereotipos latentes en nuestro cine y el cine de Corea del Sur; uno de estos aspectos sin duda es la representación de la fuerza de la ley como inepta y por lo tanto los policías son siempre bufones torpes incapaces de resolver crímenes que ocurren frente a sus ojos.</div><div></div><div>Es mucho menos sangrienta a lo que su título podría sugerir y la fotografía de la película ofrece un goce visual estético con las escenas Byung-soo en los bosques de bambú o con las escenas en la nieve complementados con una paleta oscura en concordancia con el tono. Sin lugar a dudas, Memoir of a Murderer de Shin-yeon Won se destaca entre las películas coreanas de crimen y misterio. </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Byung-soo acostado en medio del bosque de bambú, lugar donde ha enterrado los cuerpos de sus víctimas.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: I Saw the Devil (2010)</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/QAGZ9srTHDM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Memoir of a Murderer (2017)','','inherit','closed','closed','','797-revision-v1','','','2019-12-26 09:16:32','2019-12-26 12:16:32','',797,'http://lapistoladechejov.com/2019/12/26/797-revision-v1/',0,'revision','',0),(1040,2,'2019-12-27 10:58:42','2019-12-27 13:58:42','<h2 style=\"font-weight: bold;\">Cine que atraviesa el cuerpo.</h2>\nChela, hundida en la humillación de haber caído en la bancarrota, observa a través de la puerta entreabierta cómo señoras de clase alta compran sus copas, cubiertos, mesas, cuadros y objetos de alto valor, vestigios de la vida que alguna vez tuvo. Así empieza Las Herederas.\n\nChiquita, su pareja, sin preocuparse demasiado y protegiendo a Chela, lleva las finanzas del hogar y cuida de ella, concretando una venta aquí y otra allá. Cuando Chiquita va a la cárcel, Chela queda sola y perdida, es que nunca tuvo que manejarse sin Chiquita. Hasta que un día Pituca, su vecina, le pregunta si puede llevarle algún lado. Al cabo de un rato, Chela se convierte en chofer regular del séquito de Pituca, y es así como conoce a Angy, la hija de una de las señoras, quien avasalla a Chela con su sensualidad.\n\nLas Herederas es una obra extraordinaria, y la mirada sensible de Marcelo Martinessi se siente desde los primeros murmullos que escuchamos aún con la pantalla negra. Relatada con una sutileza y elegancia visual incomparable, la utilización del fuera de campo se convierte en un recurso narrativo poético y estético que indaga con mayor profundidad la complejidad de las relaciones de los personajes, como una lupa visual que dirige nuestra mirada hacia lo que vemos e incluso, hacia lo que no estamos viendo. ¿Por qué me mirás así?, le pregunta Chela a Chiquita. Sin embargo, no vemos la cara de Chiquita. De la misma manera, el trabajo sonoro enfatiza con ímpetu pequeños detalles como diciéndonos escuchá, escuchá como los pasos retumban en esta casa vacía. Y así proyectamos, imaginamos y construimos la historia.\n\nLa intimidad del relato está remarcada por el uso constante de planos cerrados, donde cada mirada adquiere una potencia que traspasa la imagen y queda impregnada en nosotros. El rostro de Chela es el reflejo al universo de emociones por los que ella va pasando; el miedo, la desesperación, el deseo, la vergüenza, el pudor, todo destella de la pantalla con los más mínimos gestos de la brillante actuación de Ana Brun. El simple movimiento de sus ojos es capaz de hacernos quebrar con ella, hasta cuando está de espaldas en la cama o con lentes de sol en el auto. El viento, pensado como un elemento catártico, es una demostración más de la genialidad del director.\n\nAlabo de pie las excelente actuaciones del reparto principal, Ana Brun, Margarita Irún y Ana Ivanova, cuyos personajes adquieren vida gracias a ellas, y hago además una especial mención a Pituca, quien con una singular mordacidad en sus diálogos entrega momentos cómicos al relato.\n\nMucho se ha hablado. Es que Las Herederas es un cine que vive más allá de la pantalla, y cuya fuerza intimida a quienes temen lo desconocido. Es una historia de amor, sí, pero es tan compleja que deja de ser solo sobre la relación entre dos mujeres mayores, sino ahonda en la intimidad, la soledad, el descubrimiento, la nostalgia y el desprendimiento. Es además, una introspección sobre el silencio y sus vacíos, las cosas que no decimos y las que ni siquiera comprendemos. Invito a que se despojen de sus prejuicios y vayan al cine, porque Las Herederas es una película que se siente, y que, como el viento, atraviesa el cuerpo.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/E7zELAeLObc?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Las Herederas (2018)','','inherit','closed','closed','','798-revision-v1','','','2019-12-27 10:58:42','2019-12-27 13:58:42','',798,'http://lapistoladechejov.com/2019/12/27/798-revision-v1/',0,'revision','',0),(886,1,'2019-12-26 09:16:33','2019-12-26 12:16:33','<div style=\"font-weight:bold;\">Cine que atraviesa el cuerpo.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_aa820ce7a77f492bb4d5af7a719039d6~mv2.jpg\" ></div><div> </div><div>Chela, hundida en la humillación de haber caído en la bancarrota, observa a través de la puerta entreabierta cómo señoras de clase alta compran sus copas, cubiertos, mesas, cuadros y objetos de alto valor, vestigios de la vida que alguna vez tuvo. Así empieza Las Herederas.</div><div></div><div>Chiquita, su pareja, sin preocuparse demasiado y protegiendo a Chela, lleva las finanzas del hogar y cuida de ella, concretando una venta aquí y otra allá. Cuando Chiquita va a la cárcel, Chela queda sola y perdida, es que nunca tuvo que manejarse sin Chiquita. Hasta que un día Pituca, su vecina, le pregunta si puede llevarle algún lado. Al cabo de un rato, Chela se convierte en chofer regular del séquito de Pituca, y es así como conoce a Angy, la hija de una de las señoras, quien avasalla a Chela con su sensualidad.</div><div></div><div>Las Herederas es una obra extraordinaria, y la mirada sensible de Marcelo Martinessi se siente desde los primeros murmullos que escuchamos aún con la pantalla negra. Relatada con una sutileza y elegancia visual incomparable, la utilización del fuera de campo se convierte en un recurso narrativo poético y estético que indaga con mayor profundidad la complejidad de las relaciones de los personajes, como una lupa visual que dirige nuestra mirada hacia lo que vemos e incluso, hacia lo que no estamos viendo. ¿Por qué me mirás así?, le pregunta Chela a Chiquita. Sin embargo, no vemos la cara de Chiquita. De la misma manera, el trabajo sonoro enfatiza con ímpetu pequeños detalles como diciéndonos escuchá, escuchá como los pasos retumban en esta casa vacía. Y así proyectamos, imaginamos y construimos la historia.</div><div></div><div>La intimidad del relato está remarcada por el uso constante de planos cerrados, donde cada mirada adquiere una potencia que traspasa la imagen y queda impregnada en nosotros. El rostro de Chela es el reflejo al universo de emociones por los que ella va pasando; el miedo, la desesperación, el deseo, la vergüenza, el pudor, todo destella de la pantalla con los más mínimos gestos de la brillante actuación de Ana Brun. El simple movimiento de sus ojos es capaz de hacernos quebrar con ella, hasta cuando está de espaldas en la cama o con lentes de sol en el auto. El viento, pensado como un elemento catártico, es una demostración más de la genialidad del director.</div><div></div><div>Alabo de pie las excelente actuaciones del reparto principal, Ana Brun, Margarita Irún y Ana Ivanova, cuyos personajes adquieren vida gracias a ellas, y hago además una especial mención a Pituca, quien con una singular mordacidad en sus diálogos entrega momentos cómicos al relato.</div><div></div><div>Mucho se ha hablado. Es que Las Herederas es un cine que vive más allá de la pantalla, y cuya fuerza intimida a quienes temen lo desconocido. Es una historia de amor, sí, pero es tan compleja que deja de ser solo sobre la relación entre dos mujeres mayores, sino ahonda en la intimidad, la soledad, el descubrimiento, la nostalgia y el desprendimiento. Es además, una introspección sobre el silencio y sus vacíos, las cosas que no decimos y las que ni siquiera comprendemos. Invito a que se despojen de sus prejuicios y vayan al cine, porque Las Herederas es una película que se siente, y que, como el viento, atraviesa el cuerpo.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La escena de masturbación de Chela.</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/E7zELAeLObc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Las Herederas (2018)','','inherit','closed','closed','','798-revision-v1','','','2019-12-26 09:16:33','2019-12-26 12:16:33','',798,'http://lapistoladechejov.com/2019/12/26/798-revision-v1/',0,'revision','',0),(1038,2,'2019-12-27 10:56:58','2019-12-27 13:56:58','<h2 style=\"font-weight: bold;\">Reconfortante y encantadora en su ingenuidad.</h2>\nSimon es un chico como cualquier otro, sólo que tiene un secreto: es gay y aún no se lo ha contado a nadie, ni a sus padres ni a sus amigos. Cuando otro chico de su colegio sale del clóset online bajo el seudónimo de “Blue”, Simon contacta con él (anónimamente también) y entablan una relación virtual. Hasta que Martin, otro chico del colegio, hace captura de los mails y utiliza eso para chantajear a Simon.\n\nImagínense si los adolescentes heterosexuales debían contar a sus padres sobre su heterosexualidad. En una secuencia cómica, Love, Simon ridiculiza el cuestionamiento que tiene Simon sobre aquel momento tan horrible en la vida de un adolescente LGBTQ. Con esto no pretender ser una película trasgresora, sino plantea la simple pregunta de por qué no existen películas de amor adolescente entre dos chicos.\n\nSi bien es cierto que en los últimos años salieron películas de temática LGBTQ alabadas por la crítica como Call me by your name o Moonlight, no puedo dejar de mencionar el hecho de que Love, Simon sea una comedia romántica de adolescentes de gran producción y alcance masivo, y cuyo protagonista gay rompe con el estereotipo del personaje secundario conocido como “el mejor amigo gay”, y pasa a ser nuestro héroe, algo inusual en el cine de los grandes estudios.\n\nEs naíf, sí, pero hay algo reconfortante en la ingenuidad de la historia y en la ligereza de la trama que te roba unas lágrimas con la misma facilidad que te saca unas carcajadas. El mensaje de tolerancia y aceptación es tan claro incluso para los padres, que puede llegar a ser una película terapéutica y para ver en familia.\n<div></div>\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/2OszNY0PpU4?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Love, Simon (2018)','','inherit','closed','closed','','799-revision-v1','','','2019-12-27 10:56:58','2019-12-27 13:56:58','',799,'http://lapistoladechejov.com/2019/12/27/799-revision-v1/',0,'revision','',0),(887,1,'2019-12-26 09:16:34','2019-12-26 12:16:34','<div style=\"font-weight:bold;\">Reconfortante y encantadora en su ingenuidad.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_e371127f7b6d4de29562ac82e951cf50~mv2.jpg\" ></div><div> </div><div>Simon es un chico como cualquier otro, sólo que tiene un secreto: es gay y aún no se lo ha contado a nadie, ni a sus padres ni a sus amigos. Cuando otro chico de su colegio sale del clóset online bajo el seudónimo de “Blue”, Simon contacta con él (anónimamente también) y entablan una relación virtual. Hasta que Martin, otro chico del colegio, hace captura de los mails y utiliza eso para chantajear a Simon.</div><div></div><div>Imagínense si los adolescentes heterosexuales debían contar a sus padres sobre su heterosexualidad. En una secuencia cómica, Love, Simon ridiculiza el cuestionamiento que tiene Simon sobre aquel momento tan horrible en la vida de un adolescente LGBTQ. Con esto no pretender ser una película trasgresora, sino plantea la simple pregunta de por qué no existen películas de amor adolescente entre dos chicos.</div><div></div><div>Si bien es cierto que en los últimos años salieron películas de temática LGBTQ alabadas por la crítica como Call me by your name o Moonlight, no puedo dejar de mencionar el hecho de que Love, Simon sea una comedia romántica de adolescentes de gran producción y alcance masivo, y cuyo protagonista gay rompe con el estereotipo del personaje secundario conocido como “el mejor amigo gay”, y pasa a ser nuestro héroe, algo inusual en el cine de los grandes estudios. </div><div></div><div>Es naíf, sí, pero hay algo reconfortante en la ingenuidad de la historia y en la ligereza de la trama que te roba unas lágrimas con la misma facilidad que te saca unas carcajadas. El mensaje de tolerancia y aceptación es tan claro incluso para los padres, que puede llegar a ser una película terapéutica y para ver en familia. </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Cuando Simon imagina su vida en la universidad.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Hoje Eu Quero Voltar Sozinho (2014).</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/2OszNY0PpU4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Love, Simon (2018)','','inherit','closed','closed','','799-revision-v1','','','2019-12-26 09:16:34','2019-12-26 12:16:34','',799,'http://lapistoladechejov.com/2019/12/26/799-revision-v1/',0,'revision','',0),(1036,2,'2019-12-27 10:54:59','2019-12-27 13:54:59','<h2 style=\"font-weight: bold;\">Una historia de adolescentes sobre la homofobia, pero fastidiosa y superficial.</h2>\nCuando su madre entra a rehabilitación, Billy Bloom se muda a una secundaria ultra conservadora, donde decide postularse para ser reina del baile.\n\nSi bien las intenciones y el mensaje son apreciados, resulta un poco superficial al no ahondar ni siquiera en nuestro héroe protagonista, cuya búsqueda parece ser un mero capricho personal más que un intento por remendar sus relaciones familiares y personales. Es más, Billy nunca termina de convencer del todo porque debajo de sus fabulosos vestuarios parece no haber más que un chico egocéntrico que ni siquiera recuerda el nombre de la única chica que se acerca a él el primer día de clases.\n\nCapaz la realidad sea así en algunos colegios, pero me cuesta creer lo inverosímil de los personajes que rozan una fantasía, y el cliché empalagoso de otros. Desde la madre alcohólica, el sensible jugador de fútbol que quiere ser artista, la rival evangélica quien cita a Trump y hace coreos con rezos, son personajes aislados, salpicados en la trama y cuyas intervenciones y aportes son intranscendentales. Hasta cuando el padre de Billy reconoce a su hijo parece forzoso. Rescato el mensaje de aceptación a la diversidad, de aceptar quién uno es, pero solo espero que el mensaje no sea contaminado por lo insustancial de la película.\n<div></div>\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/drg74wOy8z8?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Freak Show (2017)','','inherit','closed','closed','','800-revision-v1','','','2019-12-27 10:54:59','2019-12-27 13:54:59','',800,'http://lapistoladechejov.com/2019/12/27/800-revision-v1/',0,'revision','',0),(888,1,'2019-12-26 09:16:34','2019-12-26 12:16:34','<div style=\"font-weight:bold;\">Una historia de adolescentes sobre la homofobia, pero fastidiosa y superficial.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_d6736fb8f8eb492e96d865a0b5153137~mv2.jpg\" ></div><div> </div><div>Cuando su madre entra a rehabilitación, Billy Bloom se muda a una secundaria ultra conservadora, donde decide postularse para ser reina del baile.</div><div></div><div>Si bien las intenciones y el mensaje son apreciados, resulta un poco superficial al no ahondar ni siquiera en nuestro héroe protagonista, cuya búsqueda parece ser un mero capricho personal más que un intento por remendar sus relaciones familiares y personales. Es más, Billy nunca termina de convencer del todo porque debajo de sus fabulosos vestuarios parece no haber más que un chico egocéntrico que ni siquiera recuerda el nombre de la única chica que se acerca a él el primer día de clases.</div><div></div><div style=\"font-style: italic;\">Capaz la realidad sea así en algunos colegios, pero me cuesta creer lo inverosímil de los personajes que rozan una fantasía, y el cliché empalagoso de otros. Desde la madre alcohólica, el sensible jugador de fútbol que quiere ser artista, la rival evangélica quien cita a Trump y hace coreos con rezos, son personajes aislados, salpicados en la trama y cuyas intervenciones y aportes son intranscendentales. Hasta cuando el padre de Billy reconoce a su hijo parece forzoso. Rescato el mensaje de aceptación a la diversidad, de aceptar quién uno es, pero solo espero que el mensaje no sea contaminado por lo insustancial de la película. </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La referencia a la última cena, post reincorporación de Billy al colegio después de haber estado en coma.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Hedwig and The Angry Inch (2001).</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/drg74wOy8z8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Freak Show (2017)','','inherit','closed','closed','','800-revision-v1','','','2019-12-26 09:16:34','2019-12-26 12:16:34','',800,'http://lapistoladechejov.com/2019/12/26/800-revision-v1/',0,'revision','',0),(1033,2,'2019-12-27 10:53:04','2019-12-27 13:53:04','<h2 style=\"font-weight: bold;\">Una idea interesante, pero demasiada sangre y un final abrupto.</h2>\n¿Qué pasaría si un día nuestros padres despertasen con la idea de matarnos? La premisa de Mom and Dad es, a primera vista, interesante. Pero con el avance de la película, el chiste fundamentado sobre esa idea se agota y se vuelve repetitivo.\n\nUn “virus” raro, que en realidad nunca se entiende ni se explica, hace que los padres de la nada quieran asesinar a sus hijos. En medio de este apocalipsis, una adolescente y su hermano luchan por sobrevivir.\n\nEl cliché de los personajes es insufrible: la hija adolescente que solo quiere estar con el novio, el hijo menor que no hace más que molestar a la mayor, y el papá y la mamá en medio de una crisis marital. Si bien tiene elementos que agregan un toque de humor negro, como por ejemplo los abuelos que entran en escena o la hermana embarazada, al final termina siendo más gore que satírico. Rescato la ridiculez de la trama, los momentos que tuve que mirar a otro lado (sí, es muy gráfica) y las veces que me encogí de dolor con los ruidos de motosierra, pero el final es tan cortante que parece un taburete de dos patas. No esperes un esclarecimiento divino sobre la paternidad y si te gustan los niños, mejor abstenerse.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/jYro0n-bP_c?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Mom and Dad (2017)','','inherit','closed','closed','','801-revision-v1','','','2019-12-27 10:53:04','2019-12-27 13:53:04','',801,'http://lapistoladechejov.com/2019/12/27/801-revision-v1/',0,'revision','',0),(889,1,'2019-12-26 09:16:34','2019-12-26 12:16:34','<div style=\"font-weight:bold;\">Una idea interesante, pero demasiada sangre y un final abrupto.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_b9362fc8236441728efd6bdf545ebcc9~mv2.jpg\" ></div><div> </div><div>¿Qué pasaría si un día nuestros padres despertasen con la idea de matarnos? La premisa de Mom and Dad es, a primera vista, interesante. Pero con el avance de la película, el chiste fundamentado sobre esa idea se agota y se vuelve repetitivo. </div><div></div><div>Un “virus” raro, que en realidad nunca se entiende ni se explica, hace que los padres de la nada quieran asesinar a sus hijos. En medio de este apocalipsis, una adolescente y su hermano luchan por sobrevivir.</div><div></div><div style=\"font-style: italic;\">El cliché de los personajes es insufrible: la hija adolescente que solo quiere estar con el novio, el hijo menor que no hace más que molestar a la mayor, y el papá y la mamá en medio de una crisis marital. Si bien tiene elementos que agregan un toque de humor negro, como por ejemplo los abuelos que entran en escena o la hermana embarazada, al final termina siendo más gore que satírico. Rescato la ridiculez de la trama, los momentos que tuve que mirar a otro lado (sí, es muy gráfica) y las veces que me encogí de dolor con los ruidos de motosierra, pero el final es tan cortante que parece un taburete de dos patas. No esperes un esclarecimiento divino sobre la paternidad y si te gustan los niños, mejor abstenerse. </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Cuando suena el timbre y llegan los abuelos.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Shaun of the Dead (2004), de Edgar Wright. ¡Comedia de zombies de las buenas!</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/jYro0n-bP_c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Mom and Dad (2017)','','inherit','closed','closed','','801-revision-v1','','','2019-12-26 09:16:34','2019-12-26 12:16:34','',801,'http://lapistoladechejov.com/2019/12/26/801-revision-v1/',0,'revision','',0),(1030,2,'2019-12-27 10:51:11','2019-12-27 13:51:11','<h2 style=\"font-weight: bold;\">Por momentos entretenida, pero nada extraordinaria.</h2>\nNo te dejes engañar. La última de Ridley Scott sobre el secuestro de Paul Getty III, nieto del hombre más rico del mundo, Paul Getty, no es tanto sobre la búsqueda de Paul y las negociaciones con los secuestradores, sino más bien se enfoca en sobre cómo la madre de Paul hace lo imposible para conseguir que el avaro abuelo billionario pague el rescate.\n\nLarga, con escenas que sobran más que avanzar la trama, como las innecesarias explicaciones de Paul abuelo haciendo negocios o saltos redundantes en el tiempo que tratan de develar la relación del abuelo con el nieto secuestrado, All the Money in the World se pone un poco más interesante solo hacia el final, llegando al clímax en una persecución estilo juego a las escondidas en una pequeña villa italiana donde por fin el secuestro vuelve a ser la trama principal. Es entretenida, por momentos, y tiene un elenco interesante, salvo Mark Wahlberg que desentona tanto como la exagerada repetición de la frase “Sos un Getty”.\n\nNo esperaba tanto, pero lo que empezó queriendo ser un thriller, terminó siendo un drama familiar sobre las cosas que el dinero no puede comprar.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/cOba7w51pKk?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','All The Money in the World (2017)','','inherit','closed','closed','','802-revision-v1','','','2019-12-27 10:51:11','2019-12-27 13:51:11','',802,'http://lapistoladechejov.com/2019/12/27/802-revision-v1/',0,'revision','',0),(890,1,'2019-12-26 09:16:35','2019-12-26 12:16:35','<div style=\"font-weight:bold;\">Por momentos entretenida, pero nada extraordinaria.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_60fa82d0a23640ed953c3e448dd9459c~mv2.jpg\" ></div><div> </div><div>No te dejes engañar. La última de Ridley Scott sobre el secuestro de Paul Getty III, nieto del hombre más rico del mundo, Paul Getty, no es tanto sobre la búsqueda de Paul y las negociaciones con los secuestradores, sino más bien se enfoca en sobre cómo la madre de Paul hace lo imposible para conseguir que el avaro abuelo billionario pague el rescate.</div><div></div><div>Larga, con escenas que sobran más que avanzar la trama, como las innecesarias explicaciones de Paul abuelo haciendo negocios o saltos redundantes en el tiempo que tratan de develar la relación del abuelo con el nieto secuestrado, All the Money in the World se pone un poco más interesante solo hacia el final, llegando al clímax en una persecución estilo juego a las escondidas en una pequeña villa italiana donde por fin el secuestro vuelve a ser la trama principal. Es entretenida, por momentos, y tiene un elenco interesante, salvo Mark Wahlberg que desentona tanto como la exagerada repetición de la frase “Sos un Getty”.</div><div></div><div>No esperaba tanto, pero lo que empezó queriendo ser un thriller, terminó siendo un drama familiar sobre las cosas que el dinero no puede comprar. </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La persecución de noche en la villa.</blockquote><blockquote style=\"font-weight:bold;\">Mis recomendaciones: Si querés ver más de Christopher Plummer, Beginners (2010). Si te gustó Romain Duris como Cinquanta, De battre mon coeur s\'est arrêté (2005). Entre películas sobre secuestros, Gone Baby, Gone (2007).</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/cOba7w51pKk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','All The Money in the World (2017)','','inherit','closed','closed','','802-revision-v1','','','2019-12-26 09:16:35','2019-12-26 12:16:35','',802,'http://lapistoladechejov.com/2019/12/26/802-revision-v1/',0,'revision','',0),(1027,2,'2019-12-27 10:48:41','2019-12-27 13:48:41','<h2 style=\"font-weight: bold;\">Insatisfactoria e inconclusa.</h2>\nHappy End (2017) de Michael Haneke, gira alrededor de una familia de clase alta que vive en una enorme mansión de Calais, los Laurents. George, el abuelo, ha perdido las ganas de vivir. Ana, la hija mayor, ahora a cargo de la empresa constructora familiar, está siendo investigada por un derrumbe en una de las obras. Tras la sobredosis de su ex mujer, Thomas, el otro hijo de George, debe ahora hacerse cargo de su hija Eve.\n\nRepitiendo recursos narrativos que, en mi parecer, parecen ser utilizados sin justificación aparente, como peleas desarrolladas a medio kilómetro de la mirada del espectador, o conversaciones inaudibles al otro lado de la calle, Haneke pretende sostener la intriga ocultando secretos entre los personajes y los chats en pantalla, pero cuando eso se va desvelando ya esa curiosidad inicial se transformó en puro aburrimiento. Hay una recurrencia de ciertos temas como la eutanasia, el voyerismo, la vigilancia tecnológica, la diferencia social, pero que son tratados con tal levedad que queda incierto hacia donde quiere llegar.\n\nAdemás de plantear quizás una cierta mirada fatalista al mundo moderno dependiente a las pantallas usando referencias de redes sociales como Facebook o Snapchat, la película no es más que un compilado de situaciones de una familia al borde de una crisis cuya catarsis nunca llega ya que la historia sigue como si nada, hasta un final inconcluso e insatisfactorio y (me atrevo a decir) bastante predecible.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/BfPvd3NiIsU?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Happy End (2017)','','inherit','closed','closed','','803-revision-v1','','','2019-12-27 10:48:41','2019-12-27 13:48:41','',803,'http://lapistoladechejov.com/2019/12/27/803-revision-v1/',0,'revision','',0),(891,1,'2019-12-26 09:16:35','2019-12-26 12:16:35','<div style=\"font-weight:bold;\">Insatisfactoria e inconclusa.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_3d063f328e614bdc9c7a863f13a8a0f3~mv2.jpg\" ></div><div> </div><div>Happy End (2017) de Michael Haneke, gira alrededor de una familia de clase alta que vive en una enorme mansión de Calais, los Laurents. George, el abuelo, ha perdido las ganas de vivir. Ana, la hija mayor, ahora a cargo de la empresa constructora familiar, está siendo investigada por un derrumbe en una de las obras. Tras la sobredosis de su ex mujer, Thomas, el otro hijo de George, debe ahora hacerse cargo de su hija Eve. </div><div></div><div>Repitiendo recursos narrativos que, en mi parecer, parecen ser utilizados sin justificación aparente, como peleas desarrolladas a medio kilómetro de la mirada del espectador, o conversaciones inaudibles al otro lado de la calle, Haneke pretende sostener la intriga ocultando secretos entre los personajes y los chats en pantalla, pero cuando eso se va desvelando ya esa curiosidad inicial se transformó en puro aburrimiento. Hay una recurrencia de ciertos temas como la eutanasia, el voyerismo, la vigilancia tecnológica, la diferencia social, pero que son tratados con tal levedad que queda incierto hacia donde quiere llegar. </div><div></div><div style=\"font-style: italic;font-style: italic;\">Además de plantear quizás una cierta mirada fatalista al mundo moderno dependiente a las pantallas usando referencias de redes sociales como Facebook o Snapchat, la película no es más que un compilado de situaciones de una familia al borde de una crisis cuya catarsis nunca llega ya que la historia sigue como si nada, hasta un final inconcluso e insatisfactorio y (me atrevo a decir) bastante predecible.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La primera, cuando Eve observa a su madre a través de la pantalla de su celular. </blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Caché (2005), la mejor de Michael Haneke.</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/BfPvd3NiIsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Happy End (2017)','','inherit','closed','closed','','803-revision-v1','','','2019-12-26 09:16:35','2019-12-26 12:16:35','',803,'http://lapistoladechejov.com/2019/12/26/803-revision-v1/',0,'revision','',0),(1013,2,'2019-12-27 10:23:18','2019-12-27 13:23:18','<h2 style=\"font-weight: bold;\">El amor embarrado de sangre, saliva y mugre.</h2>\nJohnny es un joven granjero en el medio de Inglaterra que desquita las frustraciones de llevar adelante la granja él solo bajo la mirada juzgadora de su padre y de su abuela, quienes viven regañándole a diario. Johnny desquita su rabia ahogándose en alcohol y en sexo casual con extraños, hasta que un día aparece Gheorghe, un extranjero, para ayudar con las ovejas.\n\nAl comienzo, es difícil explicar la hostilidad que siente Johnny hacia Gheorghe, no sabemos si es atracción, fobia o celos. Es un poco arduo además sentir empatía con el irritable Johnny. Sin embargo, con el paso de los días en el campo, esa agresividad se va transformando en atracción hasta que la recompensa es una salvaje y bruta historia de amor, y sobre cómo bajar la guardia y volver a contemplar la belleza en aquellos lugares donde vimos muerte y vacío.\n\nCon un cuidado particular hacia los detalles, en espacial hacia las manos de los personajes, el director nos mete en un universo de mugre, saliva, sangre y barro. Las mismas manos ensangrentadas de Gheorghe que reviven un cordero son las que después recorren el cuerpo de Johnny en un arrebato de excitación. Que las (quizás) crudas imágenes y el frío paisaje campestre no te dejen disfrutar de este relato amargo pero esperanzador.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/OyWievSHxhI?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','God’s Own Country (2017)','','inherit','closed','closed','','804-revision-v1','','','2019-12-27 10:23:18','2019-12-27 13:23:18','',804,'http://lapistoladechejov.com/2019/12/27/804-revision-v1/',0,'revision','',0),(892,1,'2019-12-26 09:16:36','2019-12-26 12:16:36','<div style=\"font-weight:bold;\">El amor embarrado de sangre, saliva y mugre.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_b8e849c3887840f8b6074e0def62b861~mv2.jpeg\" ></div><div> </div><div>Johnny es un joven granjero en el medio de Inglaterra que desquita las frustraciones de llevar adelante la granja él solo bajo la mirada juzgadora de su padre y de su abuela, quienes viven regañándole a diario. Johnny desquita su rabia ahogándose en alcohol y en sexo casual con extraños, hasta que un día aparece Gheorghe, un extranjero, para ayudar con las ovejas.</div><div></div><div>Al comienzo, es difícil explicar la hostilidad que siente Johnny hacia Gheorghe, no sabemos si es atracción, fobia o celos. Es un poco arduo además sentir empatía con el irritable Johnny. Sin embargo, con el paso de los días en el campo, esa agresividad se va transformando en atracción hasta que la recompensa es una salvaje y bruta historia de amor, y sobre cómo bajar la guardia y volver a contemplar la belleza en aquellos lugares donde vimos muerte y vacío.</div><div></div><div>Con un cuidado particular hacia los detalles, en espacial hacia las manos de los personajes, el director nos mete en un universo de mugre, saliva, sangre y barro. Las mismas manos ensangrentadas de Gheorghe que reviven un cordero son las que después recorren el cuerpo de Johnny en un arrebato de excitación. Que las (quizás) crudas imágenes y el frío paisaje campestre no te dejen disfrutar de este relato amargo pero esperanzador.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La segunda vez que Johnny y Gheorghe están juntos, al calor del fuego. </blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Brokeback Mountain (2005) de Ang Lee.</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/OyWievSHxhI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','God’s Own Country (2017)','','inherit','closed','closed','','804-revision-v1','','','2019-12-26 09:16:36','2019-12-26 12:16:36','',804,'http://lapistoladechejov.com/2019/12/26/804-revision-v1/',0,'revision','',0),(893,2,'2019-12-26 09:19:42','2019-12-26 12:19:42','Agarrando pueblo imagen destacada','agarrando pueblo','','inherit','open','closed','','agarrando-pueblo','','','2019-12-26 09:48:35','2019-12-26 12:48:35','',766,'http://lapistoladechejov.com/wp-content/uploads/2019/12/agarrando-pueblo.jpg',0,'attachment','image/jpeg',0),(1010,2,'2019-12-27 10:21:19','2019-12-27 13:21:19','<h2 style=\"font-weight: bold;\">Paisajes oníricos y osos asesinos, una mezcla que al final resulta insípida.</h2>\nLa película inicia con Lena, de blanco y en cuarentena, siendo interrogada por un científico. No tenemos idea de qué sucedió ni cómo y a través del relato de Lena, nos embarcamos en la expedición dentro del Área X. Queremos saber cómo fue que ella formó parte de esa misión, qué pasó con el resto de su equipo y por qué ella está viva. Pero las respuestas que nos ofrece la película resultan, para mí, insatisfactorias y predecibles.\n\nCon un diálogo expositivo y explicativo demás, por ejemplo a los 5 minutos de haber empezado la película, un colega de Lena dice a ella “..que estés de duelo, no significa que no puedas divertirte un poco..”, Annihilation no es más que una mezcla de paisajes bonitos y momentos espeluznantes.\n\nLa gradual muerte de cada uno de los personajes resulta tan fortuita como el motivo por el cual ellas están ahí, a pesar de habernos contado a través de un diálogo forzoso la motivación de cada una de ellas. Hasta la justificación de la conformación del equipo está lanzada en una línea de diálogo que intenta explicar la casualidad de la misión.\n\nA diferencia con Ex Machina, cuya intriga mantiene la tensión hasta un final climático, Annihilation va perdiendo el sentido buscando explicar lo inexplicable. Tal como Lena responde en la primera escena de la película “No sé”, sacando afuera los maravillosos paisajes y criaturas mutantes, no sé a donde íbamos. Muchos planteamientos iniciales, como el desfasaje del tiempo, la percepción de los recuerdos, las alteraciones genéticas y el cáncer quedan olvidados al punto que esa sensación de fascinación y ansiedad que vamos haciendo con los personajes va perdiendo el rumbo.\n<div></div>','Annihilation (2018)','','inherit','closed','closed','','805-revision-v1','','','2019-12-27 10:21:19','2019-12-27 13:21:19','',805,'http://lapistoladechejov.com/2019/12/27/805-revision-v1/',0,'revision','',0),(894,1,'2019-12-26 09:19:53','2019-12-26 12:19:53','<div style=\"font-weight:bold;\">Paisajes oníricos y osos asesinos, una mezcla que al final resulta insípida.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_5c2c520a99284783806768beab622606~mv2.jpg\" ></div><div> </div><div>La película inicia con Lena, de blanco y en cuarentena, siendo interrogada por un científico. No tenemos idea de qué sucedió ni cómo y a través del relato de Lena, nos embarcamos en la expedición dentro del Área X. Queremos saber cómo fue que ella formó parte de esa misión, qué pasó con el resto de su equipo y por qué ella está viva. Pero las respuestas que nos ofrece la película resultan, para mí, insatisfactorias y predecibles.</div><div></div><div>Con un diálogo expositivo y explicativo demás, por ejemplo a los 5 minutos de haber empezado la película, un colega de Lena dice a ella “..que estés de duelo, no significa que no puedas divertirte un poco..”, Annihilation no es más que una mezcla de paisajes bonitos y momentos espeluznantes.</div><div></div><div>La gradual muerte de cada uno de los personajes resulta tan fortuita como el motivo por el cual ellas están ahí, a pesar de habernos contado a través de un diálogo forzoso la motivación de cada una de ellas. Hasta la justificación de la conformación del equipo está lanzada en una línea de diálogo que intenta explicar la casualidad de la misión. </div><div></div><div>A diferencia con Ex Machina, cuya intriga mantiene la tensión hasta un final climático, Annihilation va perdiendo el sentido buscando explicar lo inexplicable. Tal como Lena responde en la primera escena de la película “No sé”, sacando afuera los maravillosos paisajes y criaturas mutantes, no sé a donde íbamos. Muchos planteamientos iniciales, como el desfasaje del tiempo, la percepción de los recuerdos, las alteraciones genéticas y el cáncer quedan olvidados al punto que esa sensación de fascinación y ansiedad que vamos haciendo con los personajes va perdiendo el rumbo.</div><div></div><blockquote style=\"font-weight:bold;\">La mejor escena: La primera, el interrogatorio. Te engancha de entrada.</blockquote><blockquote style=\"font-weight:bold;\">La peor escena: La famosa y típica escena de una parejita haciéndose cosquillas en ropa interior en la cama.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: En este caso, abajo te recomiendo no una sino 3 películas y un guiño para ver si no te gustó (o te gustó) Annihilation.</blockquote><div></div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_8d5fa67d690d4906b5fabfd7f95bcb29~mv2.png\" ></div><div></div>','Annihilation (2018)','','inherit','closed','closed','','805-revision-v1','','','2019-12-26 09:19:53','2019-12-26 12:19:53','',805,'http://lapistoladechejov.com/2019/12/26/805-revision-v1/',0,'revision','',0),(1007,2,'2019-12-27 10:19:07','2019-12-27 13:19:07','<h2 style=\"font-weight: bold;\">Extravagante y divertida, una mezcla peculiar en el género de comedias románticas.</h2>\nInicio mi viaje a través del cine islandés con este maravilloso descubrimiento, L’effet aquatique, escrita y dirigida por Sólveig Anspach. Cuando Samir, un operador de grúa, ve a Agathe, una instructora de natación, despachar a un pretendiente en un café, se queda completamente hipnotizado. Enamorado y determinado, Samir finge no saber nadar y se anota a las clases de natación en la pileta municipal donde enseña Agathe. Equipado con una malla naranja, gorrito prestado y anteojos gigantes, los ojos de Samir brillan como un niño durante las clases de natación con la chica de sus sueños.\n\nCon un diálogo atrevido y perspicaz, esta comedia romántica me sacó varias sonrisas y risas sin caer en forzosos clichés. Es que la peculiaridad con la que están caracterizados los personajes, sumado a escenarios insólitos como el congreso de instructores de natación en Islandia convierten a esta comedia “screwball” (donde el personaje mete la pata una y otra vez) en una película extravagante y divertida. La encantadora torpeza de Samir con su largo cuerpo y rostro de perro triste, y la irritable e impaciente Agathe, mantienen viva la pantalla con la singular química que tienen entre ambos, a pesar de la historia que va perdiendo su frescura a medida que avanza. De seguro, estaré viendo las demás películas de Sólveig, quien falleció hace un par de años.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/VI72mDmfTtY?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','L\'effet aquatique (2016)','','inherit','closed','closed','','806-revision-v1','','','2019-12-27 10:19:07','2019-12-27 13:19:07','',806,'http://lapistoladechejov.com/2019/12/27/806-revision-v1/',0,'revision','',0),(895,1,'2019-12-26 09:19:54','2019-12-26 12:19:54','<div style=\"font-weight:bold;\">Extravagante y divertida, una mezcla peculiar en el género de comedias románticas.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_6e18d1bccb2642fab2ca8544d22d395e~mv2.jpg\" ></div><div> </div><div>Inicio mi viaje a través del cine islandés con este maravilloso descubrimiento, L’effet aquatique, escrita y dirigida por Sólveig Anspach. Cuando Samir, un operador de grúa, ve a Agathe, una instructora de natación, despachar a un pretendiente en un café, se queda completamente hipnotizado. Enamorado y determinado, Samir finge no saber nadar y se anota a las clases de natación en la pileta municipal donde enseña Agathe. Equipado con una malla naranja, gorrito prestado y anteojos gigantes, los ojos de Samir brillan como un niño durante las clases de natación con la chica de sus sueños.</div><div></div><div style=\"font-style: italic;\">Con un diálogo atrevido y perspicaz, esta comedia romántica me sacó varias sonrisas y risas sin caer en forzosos clichés. Es que la peculiaridad con la que están caracterizados los personajes, sumado a escenarios insólitos como el congreso de instructores de natación en Islandia convierten a esta comedia “screwball” (donde el personaje mete la pata una y otra vez) en una película extravagante y divertida. La encantadora torpeza de Samir con su largo cuerpo y rostro de perro triste, y la irritable e impaciente Agathe, mantienen viva la pantalla con la singular química que tienen entre ambos, a pesar de la historia que va perdiendo su frescura a medida que avanza. De seguro, estaré viendo las demás películas de Sólveig, quien falleció hace un par de años.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Las clases de natación.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Queen of Montreuil (2012), también de Sólveig y también la siguiente para mí.</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/VI72mDmfTtY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','L\'effet aquatique (2016)','','inherit','closed','closed','','806-revision-v1','','','2019-12-26 09:19:54','2019-12-26 12:19:54','',806,'http://lapistoladechejov.com/2019/12/26/806-revision-v1/',0,'revision','',0),(1004,2,'2019-12-27 10:16:49','2019-12-27 13:16:49','<h2 style=\"font-weight: bold;\">Más violencia, menos sentido.</h2>\nCuando los carteles comienzan a traficar terroristas a través de la frontera con Estados Unidos, el agente federal Matt Graver reúne un equipo en conjunto con Alejandro, un hombre de dudoso pasado, para secuestrar a la hija de uno de los líderes del narcotráfico esperando generar así una guerra autodestructiva entre los carteles mismos.\n\nA diferencia de Sicario (2015), cuyo conflicto se centraba en los horrores que vivía la agente federal Kate y la postura de la misma agencia para combatir la guerra del narcotráfico en la frontera, Sicario: Day of the Soldado gira menos en torno a los personajes para centrarse más en la acción y en los enfrentamientos armados entre los bandos. La dirección de Denis Villeneuve en colaboración con el talentoso ojo de Roger Deakins en la fotografía y el personaje protagónico de Emily Blunt fueron pilares claves en la anterior entrega y cuya ausencia no pasa desapercibida en esta película que se limita a mostrar un mundo de machos alfas que actúan sin una pizca de moralidad y tal como lo anuncia Graver, “sin reglas esta vez”.\n\nSicario: Day of the Soldado parece justificar con extrañeza la violencia extrema como única posible solución al conflicto migratorio latente en la frontera con México, sin importar el precio. Utiliza elementos como una explosión en un supermercado, el ISIS y México siendo aliados para argumentar ataques aéreos con drones y matanzas a plena luz del día.\n\nAdemás de ofrecer una mirada cínica hacia problemáticas bien actuales, la historia es tan monótona como la banda sonora, dejando nada a la sorpresa con una trama que pierde sentido alguno.\n\n<iframe src=\"https://www.youtube.com/embed/5Nf-rrSLroQ?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Sicario: Day of the Soldado (2018)','','inherit','closed','closed','','807-revision-v1','','','2019-12-27 10:16:49','2019-12-27 13:16:49','',807,'http://lapistoladechejov.com/2019/12/27/807-revision-v1/',0,'revision','',0),(896,1,'2019-12-26 09:19:54','2019-12-26 12:19:54','<div style=\"font-weight:bold;\">Más violencia, menos sentido.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_11dd63ae55854c87aafe724a73536ba8~mv2.jpg\" ></div><div>Cuando los carteles comienzan a traficar terroristas a través de la frontera con Estados Unidos, el agente federal Matt Graver reúne un equipo en conjunto con Alejandro, un hombre de dudoso pasado, para secuestrar a la hija de uno de los líderes del narcotráfico esperando generar así una guerra autodestructiva entre los carteles mismos.</div><div></div><div>A diferencia de Sicario (2015), cuyo conflicto se centraba en los horrores que vivía la agente federal Kate y la postura de la misma agencia para combatir la guerra del narcotráfico en la frontera, Sicario: Day of the Soldado gira menos en torno a los personajes para centrarse más en la acción y en los enfrentamientos armados entre los bandos. La dirección de Denis Villeneuve en colaboración con el talentoso ojo de Roger Deakins en la fotografía y el personaje protagónico de Emily Blunt fueron pilares claves en la anterior entrega y cuya ausencia no pasa desapercibida en esta película que se limita a mostrar un mundo de machos alfas que actúan sin una pizca de moralidad y tal como lo anuncia Graver, “sin reglas esta vez”. </div><div></div><div>Sicario: Day of the Soldado parece justificar con extrañeza la violencia extrema como única posible solución al conflicto migratorio latente en la frontera con México, sin importar el precio. Utiliza elementos como una explosión en un supermercado, el ISIS y México siendo aliados para argumentar ataques aéreos con drones y matanzas a plena luz del día.</div><div></div><div>Además de ofrecer una mirada cínica hacia problemáticas bien actuales, la historia es tan monótona como la banda sonora, dejando nada a la sorpresa con una trama que pierde sentido alguno.</div><div></div><blockquote style=\"font-weight:bold;\">La peor escena: La última</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Sicario (2015) y Hell or High Water (2016) ambas escritas por Taylor Sheridan</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/5Nf-rrSLroQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Sicario: Day of the Soldado(2018)','','inherit','closed','closed','','807-revision-v1','','','2019-12-26 09:19:54','2019-12-26 12:19:54','',807,'http://lapistoladechejov.com/2019/12/26/807-revision-v1/',0,'revision','',0),(1001,2,'2019-12-27 10:14:40','2019-12-27 13:14:40','<h2 style=\"font-weight: bold;\">La frialdad del \"no amor\".</h2>\nLoveless o Sin amor nos presenta a Zhenya y a Boris, una pareja de clase media enredados en una separación intensa, como el epílogo de una relación que ya comenzó de manera tóxica. Es que los dos guardan un resentimiento profundo hacia el otro y, me atrevo a decir, odio hacia su hijo Alyosha, quien es el único factor aparente por resolver para concretar su definitivo divorcio. Ni Boris ni Zhenya quieren quedarse con el hijo y al día siguiente de haber escuchado esta intensa discusión, Alyosha desaparece.\n\nLo más duro parece ser que ninguno de los padres de Alyosha, ambos en cama pasando una noche íntima con sus nuevas parejas, se ha percatado de su desaparición. Desaparición sería un cumplido, es que ambos están ausentes en la miserable existencia del niño. Llega un momento en medio de las escenas altamente eróticas donde uno se empieza a cuestionar donde está Alyosha.\n\nA partir de aquí la película, tal como el crudo clima de invierno, se va enfriando cada vez más. Ante la ineptitud de la policía, y la burocracia del sistema, con la ayuda de un equipo voluntario especializado inicia la horrorosa búsqueda.\n\nNo es una película fácil de ver. Narrada con una lentitud agobiante, con cada segundo que pasa, se siente más difícil respirar a la espera siempre de un momento catártico de susto, la clásica recompensa a las películas de suspenso. Pero esto no se da y resulta en una angustia aún peor.\n\nEl título no podría ser más acertado. Loveless es una película sobre el oscuro “no amor” que siente una pareja, un padre, una madre, una hija, dentro de una sociedad pintada de frío y de gris.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/DaVyj_r3m-M?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Loveless (2017)','','inherit','closed','closed','','808-revision-v1','','','2019-12-27 10:14:40','2019-12-27 13:14:40','',808,'http://lapistoladechejov.com/2019/12/27/808-revision-v1/',0,'revision','',0),(897,1,'2019-12-26 09:19:55','2019-12-26 12:19:55','<div style=\"font-weight:bold;\">La frialdad del \"no amor\".</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_2aa3c9288439419fb4a17083092bc9bd~mv2.jpg\" ></div><div> </div><div>Loveless o Sin amor nos presenta a Zhenya y a Boris, una pareja de clase media enredados en una separación intensa, como el epílogo de una relación que ya comenzó de manera tóxica. Es que los dos guardan un resentimiento profundo hacia el otro y, me atrevo a decir, odio hacia su hijo Alyosha, quien es el único factor aparente por resolver para concretar su definitivo divorcio. Ni Boris ni Zhenya quieren quedarse con el hijo y al día siguiente de haber escuchado esta intensa discusión, Alyosha desaparece.</div><div></div><div>Lo más duro parece ser que ninguno de los padres de Alyosha, ambos en cama pasando una noche íntima con sus nuevas parejas, se ha percatado de su desaparición. Desaparición sería un cumplido, es que ambos están ausentes en la miserable existencia del niño. Llega un momento en medio de las escenas altamente eróticas donde uno se empieza a cuestionar donde está Alyosha. </div><div></div><div>A partir de aquí la película, tal como el crudo clima de invierno, se va enfriando cada vez más. Ante la ineptitud de la policía, y la burocracia del sistema, con la ayuda de un equipo voluntario especializado inicia la horrorosa búsqueda.</div><div></div><div>No es una película fácil de ver. Narrada con una lentitud agobiante, con cada segundo que pasa, se siente más difícil respirar a la espera siempre de un momento catártico de susto, la clásica recompensa a las películas de suspenso. Pero esto no se da y resulta en una angustia aún peor.</div><div></div><div style=\"font-style: italic;\">El título no podría ser más acertado. Loveless es una película sobre el oscuro “no amor” que siente una pareja, un padre, una madre, una hija, dentro de una sociedad pintada de frío y de gris. </div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Cuando descubrimos que Alyosha ha escuchado la discusión entre sus padres.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Leviathan (2014) del mismo director, Andrey Zvyagintsev.</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/DaVyj_r3m-M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Loveless (2017)','','inherit','closed','closed','','808-revision-v1','','','2019-12-26 09:19:55','2019-12-26 12:19:55','',808,'http://lapistoladechejov.com/2019/12/26/808-revision-v1/',0,'revision','',0),(999,2,'2019-12-27 10:12:16','2019-12-27 13:12:16','<h2 style=\"font-weight: bold;\">Una claustrofóbica y tenebrosa historia de amor tóxico.</h2>\nAmbientada en Londres en los años ’50, Phantom Thread (2018) narra la historia de amor entre el obsesivo diseñador de vestidos Reynolds Woodcock, y Alma, una joven de espíritu fuerte capaz de llegar a extremos por las minúsculas migajas de afecto y cariño que puede darle Reynolds. Pero esta historia no es sobre una mujer que se desangra por un hombre, tampoco es la historia de la genialidad incomprendida del diseñador, ni tampoco sobre el tremendo complejo de Edipo que pinta a Reynolds como un niño malcriado. Para mí es la historia de dos personas, de caracteres opuestos que sin embargo son lo que cada uno buscaba y quiere. El mismo Reynolds admite ante Alma que es la mujer que ha estado buscando por mucho tiempo. Alma confiesa que Reynolds cumplió todos sus deseos. Y la película cuenta cómo ambos encuentran la manera de convivir a pesar de sus diferencias.\n\nNarrada con la misma minuciosidad y perfección que caracteriza al personaje de Daniel Day Lewis, con algo tan sencillo como un desayuno, una mirada, un gesto, el ruido de un pan tostado siendo untado con mermelada, Paul Thomas Anderson te mantiene bajo constante tensión como si estuviésemos esperando siempre lo peor. Los tintes cómicos en los diálogos es solo una muestra más de la genialidad del director/guionista.\n\n<iframe src=\"https://www.youtube.com/embed/qZhf_QWdHDM?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Phantom Thread (2017)','','inherit','closed','closed','','809-revision-v1','','','2019-12-27 10:12:16','2019-12-27 13:12:16','',809,'http://lapistoladechejov.com/2019/12/27/809-revision-v1/',0,'revision','',0),(898,1,'2019-12-26 09:19:55','2019-12-26 12:19:55','<div style=\"font-weight:bold;\">Una claustrofóbica y tenebrosa historia de amor tóxico.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_86f4334183b9451bb8fbb5307ea9081e~mv2.jpg\" ></div><div> </div><div>Ambientada en Londres en los años ’50, Phantom Thread (2018) narra la historia de amor entre el obsesivo diseñador de vestidos Reynolds Woodcock, y Alma, una joven de espíritu fuerte capaz de llegar a extremos por las minúsculas migajas de afecto y cariño que puede darle Reynolds. Pero esta historia no es sobre una mujer que se desangra por un hombre, tampoco es la historia de la genialidad incomprendida del diseñador, ni tampoco sobre el tremendo complejo de Edipo que pinta a Reynolds como un niño malcriado. Para mí es la historia de dos personas, de caracteres opuestos que sin embargo son lo que cada uno buscaba y quiere. El mismo Reynolds admite ante Alma que es la mujer que ha estado buscando por mucho tiempo. Alma confiesa que Reynolds cumplió todos sus deseos. Y la película cuenta cómo ambos encuentran la manera de convivir a pesar de sus diferencias.</div><div></div><div>Narrada con la misma minuciosidad y perfección que caracteriza al personaje de Daniel Day Lewis, con algo tan sencillo como un desayuno, una mirada, un gesto, el ruido de un pan tostado siendo untado con mermelada, Paul Thomas Anderson te mantiene bajo constante tensión como si estuviésemos esperando siempre lo peor. Los tintes cómicos en los diálogos es solo una muestra más de la genialidad del director/guionista.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: La cena de espárragos a la manteca</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Punch Drunk Love (2002), la mejor de Paul Thomas Anderson.</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/qZhf_QWdHDM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Phantom Thread (2017)','','inherit','closed','closed','','809-revision-v1','','','2019-12-26 09:19:55','2019-12-26 12:19:55','',809,'http://lapistoladechejov.com/2019/12/26/809-revision-v1/',0,'revision','',0),(997,2,'2019-12-27 10:10:04','2019-12-27 13:10:04','<h2 style=\"font-weight: bold;\">Los efectos de la soledad.</h2>\nA tan solo dos semanas de terminar su contrato de 3 años con la compañía Lunar, Sam Bell, un astronauta encargado de extraer gas lunar en esperas a revertir la crisis energética de la Tierra, comienza a ver y escuchar cosas extrañas. Es que la ansiedad por volver junto a su esposa e hija se ha vuelto insufrible para él. Encima la única compañía que tiene es el robot Gerty, que con un visor tipo HAL (de 2001: A Space Odyssey) y una pantalla con emojis según el humor, parece estar tramando algo, siempre demasiado pendiente de lo que haga Sam y cómo este se siente. Al sufrir un accidente durante una rutina de extracción, Sam sospecha sobre su regreso y sobre su propósito para la compañía.\n\nSin muchos recursos visuales digitales, un solo escenario y poquísimos personajes, Moon es una combinación interesante entre thriller psicológico y ciencia ficción que reflexiona sobre el tiempo y la soledad como una etapa de redención y cambio, pero también como posible detonante de la locura. En ciertos instantes, es Sam el que se ha vuelto loco, por otros es Gerty el que ha cobrado conciencia y vida propia más allá de su código de programación y quiere asesinar a Sam. Me hizo recordar por momentos a The Shining (1980), aunque con la gran diferencia de que Moon escala en tensión hasta cierto punto y luego parece caer en obviedades y pierde la intriga tan bien construida a lo largo de la mitad de la película. Al revelarse los secretos, aquellos aspectos mucho más interesantes como la rutina de Sam corroída por el aislamiento pasan al olvido.\n\n<iframe src=\"https://www.youtube.com/embed/WWoDBcSW4_c?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Moon (2009)','','inherit','closed','closed','','810-revision-v1','','','2019-12-27 10:10:04','2019-12-27 13:10:04','',810,'http://lapistoladechejov.com/2019/12/27/810-revision-v1/',0,'revision','',0),(899,1,'2019-12-26 09:19:56','2019-12-26 12:19:56','<div style=\"font-weight:bold;\">Los efectos de la soledad.</div><div><img style=\"text-align:center;\" src =\"https://static.wixstatic.com/media/51b808_d22cfb1ef3f1453ca7b734c565e9cd2c~mv2.jpg\" ></div><div> </div><div style=\"font-style: italic;\">A tan solo dos semanas de terminar su contrato de 3 años con la compañía Lunar, Sam Bell, un astronauta encargado de extraer gas lunar en esperas a revertir la crisis energética de la Tierra, comienza a ver y escuchar cosas extrañas. Es que la ansiedad por volver junto a su esposa e hija se ha vuelto insufrible para él. Encima la única compañía que tiene es el robot Gerty, que con un visor tipo HAL (de 2001: A Space Odyssey) y una pantalla con emojis según el humor, parece estar tramando algo, siempre demasiado pendiente de lo que haga Sam y cómo este se siente. Al sufrir un accidente durante una rutina de extracción, Sam sospecha sobre su regreso y sobre su propósito para la compañía.</div><div></div><div>Sin muchos recursos visuales digitales, un solo escenario y poquísimos personajes, Moon es una combinación interesante entre thriller psicológico y ciencia ficción que reflexiona sobre el tiempo y la soledad como una etapa de redención y cambio, pero también como posible detonante de la locura. En ciertos instantes, es Sam el que se ha vuelto loco, por otros es Gerty el que ha cobrado conciencia y vida propia más allá de su código de programación y quiere asesinar a Sam. Me hizo recordar por momentos a The Shining (1980), aunque con la gran diferencia de que Moon escala en tensión hasta cierto punto y luego parece caer en obviedades y pierde la intriga tan bien construida a lo largo de la mitad de la película. Al revelarse los secretos, aquellos aspectos mucho más interesantes como la rutina de Sam corroída por el aislamiento pasan al olvido.</div><div></div><blockquote style=\"font-weight:bold;\">Una escena: Sam jugando ping-pong.</blockquote><blockquote style=\"font-weight:bold;\">Una recomendación: Ex Machina (2014).</blockquote><div></div><iframe width=\"480\" height=\"270\" src=\"https://www.youtube.com/embed/WWoDBcSW4_c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe><div></div>','Moon (2009)','','inherit','closed','closed','','810-revision-v1','','','2019-12-26 09:19:56','2019-12-26 12:19:56','',810,'http://lapistoladechejov.com/2019/12/26/810-revision-v1/',0,'revision','',0),(910,2,'2019-12-26 09:48:09','2019-12-26 12:48:09','Parasite imagen destacada','parasite','','inherit','open','closed','','parasite','','','2019-12-26 09:48:55','2019-12-26 12:48:55','',769,'http://lapistoladechejov.com/wp-content/uploads/2019/09/parasite.jpg',0,'attachment','image/jpeg',0),(914,2,'2019-12-26 09:53:00','2019-12-26 12:53:00','Pecado original imagen destacada','pecado_original','','inherit','open','closed','','pecado_original','','','2019-12-26 09:53:23','2019-12-26 12:53:23','',770,'http://lapistoladechejov.com/wp-content/uploads/2019/09/pecado_original.jpg',0,'attachment','image/jpeg',0),(902,2,'2019-12-26 09:26:51','2019-12-26 12:26:51','El supremo manuscrito imagen destacada','el_supremo_manuscrito','','inherit','open','closed','','el_supremo_manuscrito','','','2019-12-26 09:49:04','2019-12-26 12:49:04','',767,'http://lapistoladechejov.com/wp-content/uploads/2019/10/el_supremo_manuscrito.jpg',0,'attachment','image/jpeg',0),(905,2,'2019-12-26 09:30:43','2019-12-26 12:30:43','Pájaros de verano imagen destacada','pajaros_de_verano','','inherit','open','closed','','pajaros_de_verano','','','2019-12-26 09:48:59','2019-12-26 12:48:59','',768,'http://lapistoladechejov.com/wp-content/uploads/2019/10/pajaros_de_verano.jpg',0,'attachment','image/jpeg',0),(922,2,'2019-12-26 10:04:12','2019-12-26 13:04:12','Morgue imagen destacada','morgue','','inherit','open','closed','','morgue','','','2019-12-26 10:04:33','2019-12-26 13:04:33','',773,'http://lapistoladechejov.com/wp-content/uploads/2019/08/morgue.jpg',0,'attachment','image/jpeg',0),(920,2,'2019-12-26 10:00:08','2019-12-26 13:00:08','Erase una vez en Hollywood imagen destacada','erase_una_vez_en_hollywood','','inherit','open','closed','','erase_una_vez_en_hollywood','','','2019-12-26 10:00:32','2019-12-26 13:00:32','',772,'http://lapistoladechejov.com/wp-content/uploads/2019/09/erase_una_vez_en_hollywood.jpg',0,'attachment','image/jpeg',0),(925,2,'2019-12-26 10:15:26','2019-12-26 13:15:26','','logo la pistola de chejov web icono-01','','inherit','open','closed','','logo-la-pistola-de-chejov-web-icono-01','','','2019-12-26 10:15:26','2019-12-26 13:15:26','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/logo-la-pistola-de-chejov-web-icono-01.png',0,'attachment','image/png',0),(926,2,'2019-12-26 10:16:07','2019-12-26 13:16:07','http://lapistoladechejov.com/wp-content/uploads/2019/12/cropped-logo-la-pistola-de-chejov-web-icono-01.png','cropped-logo-la-pistola-de-chejov-web-icono-01.png','','inherit','open','closed','','cropped-logo-la-pistola-de-chejov-web-icono-01-png','','','2019-12-26 10:16:07','2019-12-26 13:16:07','',0,'http://lapistoladechejov.com/wp-content/uploads/2019/12/cropped-logo-la-pistola-de-chejov-web-icono-01.png',0,'attachment','image/png',0),(932,2,'2019-12-26 10:29:04','2019-12-26 13:29:04','<h2>Servicios ofrecidos</h2>\n<h3>Escritura de guiones</h3>\nEscritura de guiones de cortometrajes, mediometrajes y largometrajes de ficción a ser producidos por otro director/a. Desarrollo y escritura de contenidos diversos como series web, guiones publicitarios o spots televisivos.\n<h3>Coescritura de guiones</h3>\nCooescritura en conjunto con otro director/a o guionista. Cooescritura en base a una idea original o historia original de otro guionista, director/a o productor/a. Escritura de guión en base a una sinopsis ya previamente definida por otro director/a, productor/a o guionista. Asesoría de guiones de cortometrajes, mediometrajes y largometrajes de ficción en etapas de desarrollo, preproducción o producción. Consultoría sobre materiales ya filmados en etapas de post producción.\n<h3>Asesoría de proyectos</h3>\nAsesoría de proyectos de escritura desde la idea al guión final. Servicio de Script Doctor con sesiones de lectura y análisis escena por escena.','Escribimos guiones','','inherit','closed','closed','','811-revision-v1','','','2019-12-26 10:29:04','2019-12-26 13:29:04','',811,'http://lapistoladechejov.com/2019/12/26/811-revision-v1/',0,'revision','',0),(917,2,'2019-12-26 09:55:56','2019-12-26 12:55:56','Los muertos no mueren imagen destacada','los_muertos_no_mueren','','inherit','open','closed','','los_muertos_no_mueren','','','2019-12-26 09:56:17','2019-12-26 12:56:17','',771,'http://lapistoladechejov.com/wp-content/uploads/2019/09/los_muertos_no_mueren.jpg',0,'attachment','image/jpeg',0),(937,2,'2019-12-26 10:41:57','2019-12-26 13:41:57','<h2>Alexandra Vazquez</h2>\n<h3>Crítica de cine, docente, guionista.</h3>\n<p dir=\"ltr\"><img class=\"alignleft size-medium wp-image-935\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Alexandra-Vazquez-imagen-perfil-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\">Alexandra Vazquez, crítica de cine, guionista y realizadora. Máster en Crítica Cinematográfica egresada de la escuela Aula Crítica, en Barcelona, y Lic. en Cinematografía con énfasis en Guión de la Universidad Columbia del Paraguay.</p>\n<p dir=\"ltr\">En su carácter de crítica, escribe para la revista internacional de crítica especializada El Espectador Imaginario y para su blog <i>La Pistola de Chéjov</i>. Además, es coordinadora y disertante del ciclo de cine debate gratuito <i>En Foco</i> que se realiza una vez al mes. Ha escrito también para la Revista Encuadra de Argentina y ha participado del Talent Press en el marco del Buenos Aires Talents, foro de discusión cinematográfico organizado por la Universidad del Cine en colaboración con el Festival de Cine de Berlín, Berlinale Talents, el Goethe-Institut Buenos Aires y el BAFICI. <span id=\"m_-6650225958021873647gmail-docs-internal-guid-5c1dc301-7fff-31c3-eb3f-caa271f286b4\">Trabaja además como guionista freelance y script doctor y desde el 2017 se desempeña como docente en la carrera de cinematografía de la Universidad Columbia.</span></p>\n<p dir=\"ltr\">Se encuentra desarrollando Yo también, proyecto de largometraje que ha participado en el Taller Cinematográfico Los Residentes, en Paraguay (2017), y en el 6to Laboratorio de Guion organizado por la Corporación Cinefilia, en Colombia (2018). El proyecto ha formado parte de la selección oficial del Oaxaca Filmfest 2017, México, en la categoría de Global Script Challenge.</p>','Contacto','','inherit','closed','closed','','818-revision-v1','','','2019-12-26 10:41:57','2019-12-26 13:41:57','',818,'http://lapistoladechejov.com/2019/12/26/818-revision-v1/',0,'revision','',0),(934,2,'2019-12-26 10:40:27','2019-12-26 13:40:27','','Alexandra Vazquez','','inherit','open','closed','','alexandra-vazquez','','','2019-12-26 10:40:27','2019-12-26 13:40:27','',818,'http://lapistoladechejov.com/wp-content/uploads/2019/12/Alexandra-Vazquez.jpg',0,'attachment','image/jpeg',0),(935,2,'2019-12-26 10:40:40','2019-12-26 13:40:40','','Alexandra Vazquez imagen perfil','','inherit','open','closed','','alexandra-vazquez-imagen-perfil','','','2019-12-26 10:40:40','2019-12-26 13:40:40','',818,'http://lapistoladechejov.com/wp-content/uploads/2019/12/Alexandra-Vazquez-imagen-perfil.jpg',0,'attachment','image/jpeg',0),(948,2,'2019-12-26 17:20:33','2019-12-26 20:20:33','<iframe title=\"Portrait of a Lady on Fire [Official Trailer] – In Theaters December 6, 2019\" width=\"1200\" height=\"675\" src=\"https://www.youtube.com/embed/R-fQPTwma9o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>','','','publish','closed','closed','','0f54344fd63e10983a546fb8580345cd','','','2019-12-26 17:20:33','2019-12-26 20:20:33','',0,'http://lapistoladechejov.com/2019/12/26/0f54344fd63e10983a546fb8580345cd/',0,'oembed_cache','',0),(949,2,'2019-12-26 17:31:07','2019-12-26 20:31:07','<h2>La memoria de los trazos.</h2>\n<p>En algún lugar de Francia a finales del siglo XVIII, Marianne arriba a una casa cerca de la costa para pintar el retrato de Héloïse, una mujer que se resiste a ser retratada. La belleza de la pintura será determinante en su futuro; si es del agrado del posible marido, él accederá al matrimonio. Y he aquí la oposición de esta mujer privada de libertad, que fue retirada del convento sólo para ser ofertada por su madre a un pretendiente desconocido de Milán. Para ella, el cuadro es una sentencia que definirá una vida sobre la cual ella no tiene poder alguno de decisión. Atribuyamos por de pronto la desgracia de las situaciones al contexto histórico, porque aquí ninguna de las mujeres están exentas del dominio masculino, sea en el ámbito artístico o cotidiano. Lo cierto es que la hazaña a la que se enfrenta la pintora se complica aún más, porque para enmascarar la verdadera razón de su presencia en la casa, deberá fingir ser una acompañante de día y pintar el retrato de noche, a escondidas y con el recuerdo como único aliado.</p>\n<p>Tras una carrera frenética hacia el precipicio costero, Marianne ve por primera vez el rostro descubierto de Héloïse, quien revela sus ganas imperiosas de sentir bajo la pesadumbre de su condena. Y, desde este primer enfrentamiento sublime, con las olas rompiendo con fuerza sobre las piedras del acantilado, despierta en ella una fascinación por su imagen, un rostro que ella absorbe y asimila en sus paseos por la playa. Las facciones de Héloïse se impregnan en la memoria de Marianne, y ella, a la luz de las velas replica cada gesto, cada mirada, cada postura, como pequeños fragmentos que conforman las piezas de un enigma irresoluto. El piso, cubierto de bocetos de detalles de las manos, de la nuca, o del labio de Héloïse, son destellos de instantes capturados en papel de lo cual Marianne se aferra para trazar las primeras tímidas pinceladas sobre el lienzo en blanco.</p>\n<p>En este mirar constante aflora el deseo, y en la pulsión del deseo brota una profunda pasión que se aviva con el transcurso de los días, porque el mirar implica un intercambio de miradas, un ser mirado y un devolver la mirada, razón por la cual el foco de la fotografía recae sobre los gestos, las cejas levantadas y los suspiros por la boca que evidencian la incomodidad de la contemplación y el eventual reconocimiento de la observación curiosa, pero desconfiada por el inevitable sufrimiento que se avecina.</p>\n<p>Céline Sciamma ilustra con profunda sensibilidad una historia de amor imposible donde el olvido se combate con imágenes, porque para sus personajes las imágenes son las únicas que puedan perdurar en el tiempo y trascender las limitaciones de la época. Así como las fotografías son amuletos colmados de recuerdos de personas y de momentos, en <em><strong>Retrato de una mujer en llamas</strong></em> (2019), los dibujos de Marianne anhelan perdurar aquel espacio y tiempo idílico suspendido donde ambas conocieron el amor. El retrato de Héloïse se convierte en el punto final, y de hecho, nunca dejó de serlo, pero tras haberse conocido, el lienzo mismo es testigo del enamoramiento, y un objeto que de alguna manera ellas crean en complicidad. Dolores menstruales y un embarazo no deseado son también subtramas que enriquecen la visión que tiene Sciamma sobre el cuerpo femenino, la de sexualidad y el deseo.</p>\n<p>Lo desgarrador del relato, cuya puesta en escena transita la intimidad a la luz de las velas, y el acecho del dolor en los paisajes eminentes, es el carácter atemporal de la historial; ya a más de dos siglos después y en especial aquí, la sociedad patriarcal aún rechaza cualquier manifestación de amor fuera del orden heteronormativo perpetuado y sostenido. Quizás algún día la tragedia sea una mera fábula y existan finales fuera de la pantalla que nos devuelvan la mirada.</p>\n<p>Ver trailer:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=R-fQPTwma9o\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=R-fQPTwma9o\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Retrato de una mujer en llamas (2019)','','inherit','closed','closed','','942-revision-v1','','','2019-12-26 17:31:07','2019-12-26 20:31:07','',942,'http://lapistoladechejov.com/2019/12/26/942-revision-v1/',0,'revision','',0),(950,2,'2019-12-26 17:33:46','2019-12-26 20:33:46','Retrato de una mujer en llamas','retrato_de_una_mujer_en_llamas','','inherit','open','closed','','retrato_de_una_mujer_en_llamas-2','','','2019-12-26 17:34:07','2019-12-26 20:34:07','',942,'http://lapistoladechejov.com/wp-content/uploads/2019/12/retrato_de_una_mujer_en_llamas-1.jpg',0,'attachment','image/jpeg',0),(951,2,'2019-12-26 17:40:55','2019-12-26 20:40:55','<h2>La memoria de los trazos.</h2>\n<p>En algún lugar de Francia a finales del siglo XVIII, Marianne arriba a una casa cerca de la costa para pintar el retrato de Héloïse, una mujer que se resiste a ser retratada. La belleza de la pintura será determinante en su futuro; si es del agrado del posible marido, él accederá al matrimonio. Y he aquí la oposición de esta mujer privada de libertad, que fue retirada del convento sólo para ser ofertada por su madre a un pretendiente desconocido de Milán. Para ella, el cuadro es una sentencia que definirá una vida sobre la cual ella no tiene poder alguno de decisión. Atribuyamos por de pronto la desgracia de las situaciones al contexto histórico, porque aquí ninguna de las mujeres están exentas del dominio masculino, sea en el ámbito artístico o cotidiano. Lo cierto es que la hazaña a la que se enfrenta la pintora se complica aún más, porque para enmascarar la verdadera razón de su presencia en la casa, deberá fingir ser una acompañante de día y pintar el retrato de noche, a escondidas y con el recuerdo como único aliado.</p>\n<p>Tras una carrera frenética hacia el precipicio costero, Marianne ve por primera vez el rostro descubierto de Héloïse, quien revela sus ganas imperiosas de sentir bajo la pesadumbre de su condena. Y, desde este primer enfrentamiento sublime, con las olas rompiendo con fuerza sobre las piedras del acantilado, despierta en ella una fascinación por su imagen, un rostro que ella absorbe y asimila en sus paseos por la playa. Las facciones de Héloïse se impregnan en la memoria de Marianne, y ella, a la luz de las velas replica cada gesto, cada mirada, cada postura, como pequeños fragmentos que conforman las piezas de un enigma irresoluto. El piso, cubierto de bocetos de detalles de las manos, de la nuca, o del labio de Héloïse, son destellos de instantes capturados en papel de lo cual Marianne se aferra para trazar las primeras tímidas pinceladas sobre el lienzo en blanco.</p>\n<p>En este mirar constante aflora el deseo, y en la pulsión del deseo brota una profunda pasión que se aviva con el transcurso de los días, porque el mirar implica un intercambio de miradas, un ser mirado y un devolver la mirada, razón por la cual el foco de la fotografía recae sobre los gestos, las cejas levantadas y los suspiros por la boca que evidencian la incomodidad de la contemplación y el eventual reconocimiento de la observación curiosa, pero desconfiada por el inevitable sufrimiento que se avecina.</p>\n<p>Céline Sciamma ilustra con profunda sensibilidad una historia de amor imposible donde el olvido se combate con imágenes, porque para sus personajes las imágenes son las únicas que puedan perdurar en el tiempo y trascender las limitaciones de la época. Así como las fotografías son amuletos colmados de recuerdos de personas y de momentos, en <em><strong>Retrato de una mujer en llamas</strong></em> (2019), los dibujos de Marianne anhelan perdurar aquel espacio y tiempo idílico suspendido donde ambas conocieron el amor. El retrato de Héloïse se convierte en el punto final, y de hecho, nunca dejó de serlo, pero tras haberse conocido, el lienzo mismo es testigo del enamoramiento, y un objeto que de alguna manera ellas crean en complicidad. Dolores menstruales y un embarazo no deseado son también subtramas que enriquecen la visión que tiene Sciamma sobre el cuerpo femenino, la de sexualidad y el deseo.</p>\n<p>Lo desgarrador del relato, cuya puesta en escena transita la intimidad a la luz de las velas, y el acecho del dolor en los paisajes eminentes, es el carácter atemporal de la historial; ya a más de dos siglos después y en especial aquí, la sociedad patriarcal aún rechaza cualquier manifestación de amor fuera del orden heteronormativo perpetuado y sostenido. Quizás algún día la tragedia sea una mera fábula y existan finales en pantalla que nos devuelvan la mirada.</p>\n<p>Ver trailer:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=R-fQPTwma9o\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=R-fQPTwma9o\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Retrato de una mujer en llamas (2019)','','inherit','closed','closed','','942-revision-v1','','','2019-12-26 17:40:55','2019-12-26 20:40:55','',942,'http://lapistoladechejov.com/2019/12/26/942-revision-v1/',0,'revision','',0),(1311,2,'2020-08-24 19:34:43','2020-08-24 23:34:43','<h2>Omisiones y ausencias.</h2>\nEl sol siempre brilla en Kentucky. O al menos lo hace para el juez Billy Priest, un héroe solitario que debe resolver un caso de violación y un posible linchamiento mientras busca la reelección de su cargo. <strong><em>The Sun Shines Bright</em></strong> es una película de ausencias y de recuerdos donde el presente se pone en pausa para observar el arribo de un barco al pueblo, un evento menor pero de motivo suficiente para retrasar cualquier proceso judicial. Esta sensación de estar viviendo un idilio perdido, un paréntesis en la historia estadounidense, se dilata a lo largo de la película y acapara los confines del escenario; desde la caracterización al relato, cada elemento de la puesta en escena está atravesada por una idea de omisión nostálgica.\n\nPriest es un hombre benigno, un tanto efusivo, un tanto cordial. Vive en compañía de Jeff, su fiel servidor, quien se encarga de prepararle el baño cada mañana y recordarle la hora de sus compromisos. En <strong><em>The Sun Shines Bright</em></strong> las cosas tienen otro nombre, o bien son innombrables. El whisky es un remedio para el corazón así como el refresco puede ser una bebida alcohólica, y un esclavo es ahora un sirviente. Y prostituta es un vocablo omitido del habla pues no existe léxico que reemplace la repulsión que genera dicha palabra, tanto así que nunca se articula más que la primera sílaba y por mera suposición se asume que lo de Mally Cramp es un prostíbulo. Del mismo modo, Priest remarca con insistencia que no se hablará de política a la par que no desaprovecha oportunidad alguna para repartir panfletos. Nada más político que el pueblo empapelado con las promesas de sus candidatos.\n\nEn el noble pueblo de Fairfield, por citar a uno de sus personajes, los borrachos no existen, ni tampoco los destiladores clandestinos. La comunidad afroamericana habita los linderos del pueblo en asentamientos más precarios y trabajan como mano de obra para los pueblerinos adinerados. Pero lo hacen en plena aceptación de su condición y hasta incluso se encargan de animar los eventos con canciones y danzas. Ellos están felices, cantan y sonríen. Ambientada a principios del siglo XX, a tan solo cincuenta años después de la guerra civil que enfrentó a los Estados Confederados contra la Unión, es decir, los esclavistas del sur versus los constitucionalistas del norte, <strong><em>The Sun Shines Bright </em></strong>supone una convivencia pacífica entre ambos bandos. La mirada es escapista, pretende pasar por alto la problemática de la segregación racial en pos de una convivencia pacífica.\n\nLos veteranos de la Confederación allegados a Priest sostienen reuniones periódicas en mira a las próximas elecciones y rinden pleitesía a los símbolos que alguna vez habían definido ese país imaginario no reconocido. La bandera blanca con la cruz en la esquina, o la canción Dixie (o Dixieland) popularizada durante la Guerra como himno nacional representa una suerte de resistencia al tiempo y a la derrota; lejos estaba John Ford de imaginar que la cruz sureña desataría polémica por ser considerada un símbolo xenofóbico. Aquí, el Sur y el Norte compiten las hazañas de sus mártires pero jamás discuten sobre la subordinación del hombre negro al hombre blanco, pilar fundacional de los Estados Confederados. Otra tema excluido adrede.\n\n<strong><em>The Sun Shines Bright </em></strong>alude constantemente a batallas pasadas y enfrenta a dos generaciones para buscar una conciliación con el pasado. La señorita Lee busca a su verdadero padre, así como su madre busca a ella para poder morir en paz; el Sr. Corwyn retorna a su pueblo natal bajo la mirada de quienes lo vieron de niño, y los ex combatientes por su parte, se resisten a ser tratados como reliquias anquilosadas y participan a duras penas de las reuniones sociales sin alcohol. Pero aquí, las tramas son casuales. Se hilvanan como puntos sueltos que tan pronto como se plantean, se revuelven sin mayores inconvenientes. La violación de una niña, referido como el “incidente”, porque violación es también una palabra prohibida, se descifra en contadas escenas: la falsa acusación, la guardia frente a la cárcel, y el encuentro con el verdadero culpable. En Fairfield, cuya traducción literal es campo bello, los linchadores obran con conciencia. No serían capaces de ejecutar a cualquiera.\n\nPasado y futuro, muerte y vida, confluyen en <strong><em>The Sun Shines Bright. </em></strong>Esta dialéctica llega a su punto álgido en la secuencia final de la película. La procesión fúnebre de la mujer extraña culmina con el sermón de Priest donde lee un versículo de la biblia que habla sobre el pecado. Cumplido el deber moral, Priest regresa para votar y tras su victoria, en parte gracias a los matones de la comunidad de Tornado que votaron a último momento por el hombre que les “salvó de ellos mismos”, una procesión festiva celebra su victoria.\n\nEn un lugar y tiempo donde los negros cantan Dixie, donde los demócratas son los conservadores y los republicanos los progresistas, <strong><em>The Sun Shines Bright </em></strong>omite pero no con malicia. Su mirada es, en cierto modo, conciliadora con lo que nombra y con lo que no. Al final del día, el juez marchó al lado del cuerpo de una mujer considerada despreciable y defendió a un joven inocente frente a los prejuicios de su propia gente. ¿Acaso tendríamos el valor de hacer lo mismo que él? A medida que el juez ingresa a su casa y se aleja en un plano general ante la mirada de Lee y Corwyn, Ford pone en marcha su propio corazón y se prepara para lo que el día siguiente le pudiera traer. El tiempo hará lo suyo con hombres como Priest. Solo resta esperar que la omisión no se transforme en olvido, y que el olvido no deteriore la memoria, tareas que decantan en uno mismo.','The Sun Shines Bright (1953)','','inherit','closed','closed','','1309-revision-v1','','','2020-08-24 19:34:43','2020-08-24 23:34:43','',1309,'http://lapistoladechejov.com/2020/08/24/1309-revision-v1/',0,'revision','',0),(1312,2,'2020-08-26 16:40:47','2020-08-26 20:40:47','<h2>Desmembrando un beso.</h2>\nA diferencia de otras manifestaciones artísticas, el cine es la que más ha estado ligada al desarrollo de la tecnología; de cámaras de 5 kg. a películas realizadas en un dispositivo móvil, estas transiciones han repercutido no solo en la manera en que se hacen las películas sino en el modo en que se perciben. Por citar un ejemplo, ya sería obsoleto utilizar el término “filman” de fílmico, cuando en realidad se registran como datos o se “graban”, así como sería ingenuo pensar en películas exentas de algún tipo de retoque digital. <strong><em>Miami Vice</em></strong> es una película que se repara en lo confuso que podría ser esta mutación a la par que es víctima de su propio lenguaje. En la fotografía, lo digital pixela una textura cuadriculada de bits y pantallas mientras recibe y asume con torpeza las posibilidades de la nueva era, sea por las formas de las cámaras o por el modo de producción.\n\nLa primera imagen de <strong><em>Miami Vice</em></strong> es la silueta de una mujer bailando frente a una pantalla luminosa. Una imagen sobre una pantalla, o una imagen sobre otra imagen. El sudor de su piel se distingue claramente del pelo, de un tono más oscuro. Atrás suyo, destellos de rojo y azul e infinitas variedades de rosa acompañan el trance. Tanto en el punto más blanco como en el punto más oscuro, es posible percibir diferencias tonales. El rango dinámico es peculiar. Desconcierta. Pareciera que por momentos hay mucha luz para una escena nocturna o muchas sombras para un día soleado. En la primera misión, los colegas de Sonny Crockett y Ricardo Tubbs instalan un dispositivo que graba lo que ocurre en una habitación. El objetivo es incierto, pero los datos transmitidos a la pantalla de un celular justifican la operación, o al menos podrían proveer las pruebas necesarias para arrestar a un delincuente.\n\nPero esta misión no llega a su fin. Sonny recibe una llamada de uno de sus informantes y tras una intervención fallida del FBI, la identidad de los agentes encubiertos se encuentra comprometida. Como es de esperar, en este altercado y sus consecuencias, hay disparos y muertes. Una cámara que se posiciona en un lugar incómodo para presenciar el desmembramiento de un personaje al que conocimos dos segundo antes. Gracias al ralentizado, con sumo detalle observamos cómo el brazo del chofer se desprende y vuela hacia nosotros. Muybridge estaría orgulloso, ¿o no? En el morbo, una estilización de la imagen en movimiento como si se buscara cautivar con el efecto aletargado de la mutilación.\n\n<img class=\"aligncenter size-large wp-image-1313\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/08/00-1024x422.png\" alt=\"\" width=\"1024\" height=\"422\" />\n\n<strong><em>Miami Vice</em></strong> viaja a través del mundo para ilustrar el alcance de una red de narcotráfico que logra meter a los Estados Unidos una suma importante de droga. Desde Miami a Colombia, pasando por Paraguay y Ginebra, y una noche en Cuba, los traslados disuelven estos espacios con planos abreviados tan imprecisos que podrían haber sucedido en cualquier lugar. En este sentido, <strong><em>Miami Vice </em></strong>remite a preconceptos y los da por sentados. Colombia es sinónimo de Cartel, donde se cultiva la coca; Ginebra es la banca suiza, donde las ganancias se depositan y se protegen. Explicar lo que el espectador ya lo tiene incorporado en su imaginario sería redundante.\n\nUna ciudad es la excepción de esta norma: Ciudad del Este, una zona de libre comercio y de incesante flujo de mercadería. Aquí, uno sortea obstáculos entre motocicletas y bolsos, caminando sobre cajas desechadas que se van apilando conforme pasa el día. En la película, en pleno centro de la ciudad fronteriza, un personaje cruza la calle, ingresa a una galería comercial y entrega un dispositivo de almacenamiento digital a otro personaje. La secuencia es corta, y en la narrativa casi desechable, pues nada más corrobora que los detectives fueron investigados por el bando criminal. Pero <strong><em>Miami Vice </em></strong>destina una cantidad exagerada de planos para ilustrar la extravagancia del lugar. Cuando Ginebra es un cartel situado detrás del personaje, Ciudad del Este es una muchedumbre que ocupa la calle y se mueve en desorden, un salpicado de aire acondicionados injertados por la pared, y letreros atiborrados uno sobre el otro.\n\n<img class=\"aligncenter size-large wp-image-1317\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/08/04-1024x423.png\" alt=\"\" width=\"1024\" height=\"423\" />\n\nQuizás era necesario explicar la dinámica de este lugar extravagante, pero en la acumulación de material (mérito del cine digital), y en el modo en que se enlazan, éstas se reducen a imágenes robadas que se insertan en la narrativa como postales exóticas de paisajes tercermundistas exportadas para el ojo norteamericano. Ciudad del Este aparece una vez más a través de una pantalla situada dentro del automóvil de Jesús Montoya, el tirano detrás de la mega estructura de narcotráfico. En estos planos es posible observar los ojos curiosos de los locales que miran a cámara, y en otro plano a un sector vulnerable que hurga entre los desechos. Los locales contemplan cómo otros curiosean, miran cómo se les mira. “Es bueno para ellos ver una superproducción cinematográfica”, dijo Michael Mann en una entrevista posterior al rodaje en referencia al equipo local contratado. ¿Fue satisfactorio para Mann afanar estas imágenes para ver la pobreza?\n\n<img class=\"aligncenter size-large wp-image-1319\" src=\"http://lapistoladechejov.com/wp-content/uploads/2020/08/06-1024x423.png\" alt=\"\" width=\"1024\" height=\"423\" />\n\nEn <strong><em>Miami Vice </em></strong>las imágenes digitales son más eficientes que un radar. Los sensores pueden confundirse si los objetos están muy cerca, pero esto no ocurre al observarlos con una cámara. Estas imágenes portadas en maletines que se abren y cierran a velocidad de un teléfono plegable, se presentan como puras, libres de modificaciones. Y son las imágenes las que disparan la acción. Es la imagen de dos lanchas la que despierta curiosidad en los agentes, y más adelante, es una imagen la que quiebra Montoya. Él puede permitir que su esposa acorde precios con los nuevos transportadores, y que se acueste con uno de ellos por el bien del negocio, pero cuando observa una grabación de Isabelle bailando con Sonny traga saliva con esfuerzo. La vuelta que dan en la pista de baile describe un acercamiento tan suave que pareciera fundirse en un beso, con caricias y miradas sostenidas. ¿Tendrían estas imágenes el mismo efecto si no estuvieran en cámara lenta?\n\nLos personajes de <strong><em>Miami Vice </em></strong>son sumisos frente a las imágenes digitales así como la película misma está plagada de un encanto hacia lo nuevo, como si estuviera descubriendo recursos sin detenerse a reflexionar sobre los mismos. Y aquí esta sumisión conduce a la decadencia. Los dos momentos opuestos en contenido son víctimas de una manipulación tan básica como efectiva. El ralentizado enfatiza la violencia de la masacre del mismo modo en que subraya lo romántico de un beso. Si la cámara lenta encuentra el romance en el beso, ¿qué descubre en el brazo triturado?','Miami Vice (2006)','','publish','open','open','','miami-vice-2006','','','2020-08-26 16:40:52','2020-08-26 20:40:52','',0,'http://lapistoladechejov.com/?p=1312',0,'post','',0),(1313,2,'2020-08-26 16:28:25','2020-08-26 20:28:25','','00','','inherit','open','closed','','00','','','2020-08-26 16:28:25','2020-08-26 20:28:25','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/00.png',0,'attachment','image/png',0),(1314,2,'2020-08-26 16:28:36','2020-08-26 20:28:36','','01','','inherit','open','closed','','01','','','2020-08-26 16:28:36','2020-08-26 20:28:36','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/01.png',0,'attachment','image/png',0),(1315,2,'2020-08-26 16:28:46','2020-08-26 20:28:46','','02','','inherit','open','closed','','02','','','2020-08-26 16:28:46','2020-08-26 20:28:46','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/02.png',0,'attachment','image/png',0),(1316,2,'2020-08-26 16:28:57','2020-08-26 20:28:57','','03','','inherit','open','closed','','03','','','2020-08-26 16:28:57','2020-08-26 20:28:57','',1312,'http://lapistoladechejov.com/wp-content/uploads/2020/08/03.png',0,'attachment','image/png',0),(954,2,'2019-12-27 09:07:07','2019-12-27 12:07:07','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2019-12-27 09:07:07','2019-12-27 12:07:07','',812,'http://lapistoladechejov.com/2019/12/27/812-revision-v1/',0,'revision','',0),(958,2,'2019-12-27 09:15:09','2019-12-27 12:15:09','Publicacion Dr Sueño EEI','Dr sueño','','inherit','open','closed','','dr-suen%cc%83o','','','2019-12-27 09:15:50','2019-12-27 12:15:50','',812,'http://lapistoladechejov.com/wp-content/uploads/2019/12/Dr-sueño.jpeg',0,'attachment','image/jpeg',0),(959,2,'2019-12-27 09:15:11','2019-12-27 12:15:11','Publicacion El irlandes EEI','El irlandes','','inherit','open','closed','','el-irlandes','','','2019-12-27 09:16:00','2019-12-27 12:16:00','',812,'http://lapistoladechejov.com/wp-content/uploads/2019/12/El-irlandes.jpeg',0,'attachment','image/jpeg',0),(960,2,'2019-12-27 09:15:15','2019-12-27 12:15:15','Publicacion Las niñas bien EEI','Las niñas bien','','inherit','open','closed','','las-nin%cc%83as-bien','','','2019-12-27 09:16:08','2019-12-27 12:16:08','',812,'http://lapistoladechejov.com/wp-content/uploads/2019/12/Las-niñas-bien.jpg',0,'attachment','image/jpeg',0),(956,2,'2019-12-27 09:11:29','2019-12-27 12:11:29','Publicación Encuadra','principal-identidad-cambiante','','inherit','open','closed','','principal-identidad-cambiante','','','2019-12-27 09:11:54','2019-12-27 12:11:54','',812,'http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante.png',0,'attachment','image/png',0),(957,2,'2019-12-27 09:12:11','2019-12-27 12:12:11','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p>Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p>Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p>Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\" /></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2019-12-27 09:12:11','2019-12-27 12:12:11','',812,'http://lapistoladechejov.com/2019/12/27/812-revision-v1/',0,'revision','',0),(963,2,'2019-12-27 09:20:36','2019-12-27 12:20:36','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"alignleft size-thumbnail wp-image-958\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Dr-sueño-150x150.jpeg\" alt=\"Publicacion Dr Sueño EEI\" width=\"150\" height=\"150\" />Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-960\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Las-niñas-bien-150x150.jpg\" alt=\"Publicacion Las niñas bien EEI\" width=\"150\" height=\"150\" />Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p> </p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-959\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/El-irlandes-150x150.jpeg\" alt=\"Publicacion El irlandes EEI\" width=\"150\" height=\"150\" />Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2019-12-27 09:20:36','2019-12-27 12:20:36','',812,'http://lapistoladechejov.com/2019/12/27/812-revision-v1/',0,'revision','',0),(962,2,'2019-12-27 09:19:22','2019-12-27 12:19:22','<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://www.elespectadorimaginario.com/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"El espectador imaginario (se abre en una nueva pestaña)\">El espectador imaginario</a></p><cite>REVISTA DE CRÍTICA CINEMATOGRÁFICA</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"alignleft size-thumbnail wp-image-958\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Dr-sueño-150x150.jpeg\" alt=\"Publicacion Dr Sueño EEI\" width=\"150\" height=\"150\" />Vazquez, A. (2019, diciembre). Homenaje fraguado en su propio intento. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/doctor-sueno/\">http://www.elespectadorimaginario.com/doctor-sueno/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-960\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Las-niñas-bien-150x150.jpg\" alt=\"Publicacion Las niñas bien EEI\" width=\"150\" height=\"150\" />Vazquez, A. (2019, diciembre). El ocaso de la opulencia. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/las-ninas-bien/\">http://www.elespectadorimaginario.com/las-ninas-bien/</a></p>\n<p> </p>\n<p><img class=\"alignleft size-thumbnail wp-image-959\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/El-irlandes-150x150.jpeg\" alt=\"Publicacion El irlandes EEI\" width=\"150\" height=\"150\" />Vazquez, A. (2019, diciembre). El uso del plano secuencia en El irlandés. El Espectador Imaginario, (108). <a href=\"http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/\">http://www.elespectadorimaginario.com/plano-secuencia-en-el-irlandes/</a></p>\n<p> </p>\n<p> </p>\n<p>Vazquez, A. (2019, noviembre). La ambigüedad del antihéroe. El Espectador Imaginario, (107). <a href=\"http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/\">http://www.elespectadorimaginario.com/la-construccion-del-personaje-en-joker/</a></p>\n<p>Vazquez, A. (2019, octubre). Delluc y Epstein: La fotogenia. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/\">http://www.elespectadorimaginario.com/delluc-y-epstein-la-fotogenia/</a></p>\n<p>Vazquez, A. (2019, octubre). Atascados en la ciénaga. El Espectador Imaginario, (106). <a href=\"http://www.elespectadorimaginario.com/atascados-en-la-cienaga/\">http://www.elespectadorimaginario.com/atascados-en-la-cienaga/</a></p>\n<p>Vazquez, A. (2019, septiembre). Áspera y Salvaje. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/sauvage/\">http://www.elespectadorimaginario.com/sauvage/</a></p>\n<p>Vazquez, A. (2019, septiembre). Deconstruyendo el género adolescente. El Espectador Imaginario, (105). <a href=\"http://www.elespectadorimaginario.com/super-empollonas/\">http://www.elespectadorimaginario.com/super-empollonas/</a></p>\n<p>Vazquez, A. (2019, julio). Después de Chernobyl. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/despues-de-chernobyl/\">http://www.elespectadorimaginario.com/despues-de-chernobyl/</a></p>\n<p>Vazquez, A. (2019, julio). Cenizas sobre las ruinas de un quizás. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/\">http://www.elespectadorimaginario.com/la-ceniza-es-el-blanco-mas-puro/</a></p>\n<p>Vazquez, A. (2019, julio). Cuando no lluege agua. El Espectador Imaginario, (104). <a href=\"http://www.elespectadorimaginario.com/cuando-no-llueve-agua/\">http://www.elespectadorimaginario.com/cuando-no-llueve-agua/</a></p>\n<p>Vazquez, A. (2019, junio). Ciudad blanca, ciudad oscura. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/\">http://www.elespectadorimaginario.com/ciudad-blanca-ciudad-oscura/</a></p>\n<p>Vazquez, A. (2019, junio). Coleccionando imágenes. El Espectador Imaginario, (103). <a href=\"http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/\">http://www.elespectadorimaginario.com/ruben-brandt-coleccionista/</a></p>\n<p>Vazquez, A. (2019, mayo). BAFICI: Claudia. El Espectador Imaginario, (102). <a href=\"http://www.elespectadorimaginario.com/claudia/\">http://www.elespectadorimaginario.com/claudia/</a></p>\n<p>Vazquez, A. (2019, abril). Harriet Bloch: El amor, una fuerza superior. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/\">http://www.elespectadorimaginario.com/harriet-bloch-el-amor-una-fuerza-superior/</a></p>\n<p>Vazquez, A. (2019, abril). Ella es tu hermana. El Espectador Imaginario, (101). <a href=\"http://www.elespectadorimaginario.com/un-asunto-de-familia/\">http://www.elespectadorimaginario.com/un-asunto-de-familia/</a></p>\n<p>Vazquez, A. (2019, febrero). Mujer. Que lucha, que siente, que vive... mujer. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/\">http://www.elespectadorimaginario.com/mujer-que-lucha-que-siente-que-vive-mujer/</a></p>\n<p>Vazquez, A., Creamer, C., Manola, E. J., Vazelle, M., Rocha, F., Pont, P., & Arnaiz, A. (2019, febrero). Oscars 2019. El Espectador Imaginario, (100). <a href=\"http://www.elespectadorimaginario.com/oscars-2019/\">http://www.elespectadorimaginario.com/oscars-2019/</a></p>\n<p>Vazquez, A. (2018, diciembre). Cine por encima del formato. El Espectador Imaginario, (98). <a href=\"http://www.elespectadorimaginario.com/cine-por-encima-del-formato/\">http://www.elespectadorimaginario.com/cine-por-encima-del-formato/</a></p>\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p><a href=\"http://revistaencuadra.com.ar/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Encuadra (se abre en una nueva pestaña)\">Encuadra</a></p><cite>Revista</cite></blockquote>\n<!-- /wp:quote -->\n\n<p><img class=\"size-medium wp-image-956 alignleft\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/principal-identidad-cambiante-300x169.png\" alt=\"Publicación Encuadra\" width=\"300\" height=\"169\"></p>\n<p>Vazquez, A. (2019, diciembre). La identidad según Sciamma. Encuadra Revista. <a href=\"http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/\">http://revistaencuadra.com.ar/2019/12/05/la-identidad-segun-sciamma/</a></p>\n\n<!-- wp:paragraph -->\n<p></p>\n<!-- /wp:paragraph -->','Publicaciones','','inherit','closed','closed','','812-revision-v1','','','2019-12-27 09:19:22','2019-12-27 12:19:22','',812,'http://lapistoladechejov.com/2019/12/27/812-revision-v1/',0,'revision','',0),(975,2,'2019-12-27 09:42:30','2019-12-27 12:42:30','Cesare deve morire','cesare_deve_morire','','inherit','open','closed','','cesare_deve_morire','','','2019-12-27 09:42:43','2019-12-27 12:42:43','',776,'http://lapistoladechejov.com/wp-content/uploads/2019/08/cesare_deve_morire.jpg',0,'attachment','image/jpeg',0),(965,2,'2019-12-27 09:24:42','2019-12-27 12:24:42','','LA PISTOLA servicios para web-01','','inherit','open','closed','','la-pistola-servicios-para-web-01','','','2019-12-27 09:24:42','2019-12-27 12:24:42','',811,'http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-01.png',0,'attachment','image/png',0),(966,2,'2019-12-27 09:25:00','2019-12-27 12:25:00','Servicio de coescritura','LA PISTOLA servicios para web-03','','inherit','open','closed','','la-pistola-servicios-para-web-03','','','2019-12-27 09:25:25','2019-12-27 12:25:25','',811,'http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-03.png',0,'attachment','image/png',0),(967,2,'2019-12-27 09:25:11','2019-12-27 12:25:11','Servicio de asesoria','LA PISTOLA servicios para web-04','','inherit','open','closed','','la-pistola-servicios-para-web-04','','','2019-12-27 09:25:32','2019-12-27 12:25:32','',811,'http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-04.png',0,'attachment','image/png',0),(968,2,'2019-12-27 09:27:11','2019-12-27 12:27:11','<!-- wp:heading -->\n<h2>Servicios ofrecidos</h2>\n<!-- /wp:heading -->\n\n<h3>Escritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-965\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-01-150x150.png\" alt=\"\" width=\"150\" height=\"150\" />Escritura de guiones de cortometrajes, mediometrajes y largometrajes de ficción a ser producidos por otro director/a. Desarrollo y escritura de contenidos diversos como series web, guiones publicitarios o spots televisivos.</p>\n<h3> </h3>\n<h3>Coescritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-966\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-03-150x150.png\" alt=\"Servicio de coescritura\" width=\"150\" height=\"150\" />Cooescritura en conjunto con otro director/a o guionista. Cooescritura en base a una idea original o historia original de otro guionista, director/a o productor/a. Escritura de guión en base a una sinopsis ya previamente definida por otro director/a, productor/a o guionista. Asesoría de guiones de cortometrajes, mediometrajes y largometrajes de ficción en etapas de desarrollo, preproducción o producción. Consultoría sobre materiales ya filmados en etapas de post producción.</p>\n<h3>Asesoría de proyectos</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-967\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-04-150x150.png\" alt=\"Servicio de asesoria\" width=\"150\" height=\"150\" />Asesoría de proyectos de escritura desde la idea al guión final. Servicio de Script Doctor con sesiones de lectura y análisis escena por escena.</p>','Guiones','','inherit','closed','closed','','811-revision-v1','','','2019-12-27 09:27:11','2019-12-27 12:27:11','',811,'http://lapistoladechejov.com/2019/12/27/811-revision-v1/',0,'revision','',0),(972,2,'2019-12-27 09:39:41','2019-12-27 12:39:41','Under the silver lake','under_the_silver_lake','','inherit','open','closed','','under_the_silver_lake','','','2019-12-27 09:39:55','2019-12-27 12:39:55','',775,'http://lapistoladechejov.com/wp-content/uploads/2019/08/under_the_silver_lake.jpg',0,'attachment','image/jpeg',0),(977,2,'2019-12-27 09:45:15','2019-12-27 12:45:15','To be or not to be','to_be_or_not_to_be','','inherit','open','closed','','to_be_or_not_to_be','','','2019-12-27 09:45:24','2019-12-27 12:45:24','',777,'http://lapistoladechejov.com/wp-content/uploads/2019/07/to_be_or_not_to_be.jpg',0,'attachment','image/jpeg',0),(970,2,'2019-12-27 09:37:07','2019-12-27 12:37:07','Orsai','orsai','','inherit','open','closed','','orsai','','','2019-12-27 09:37:21','2019-12-27 12:37:21','',774,'http://lapistoladechejov.com/wp-content/uploads/2019/08/orsai.jpg',0,'attachment','image/jpeg',0),(979,2,'2019-12-27 09:47:20','2019-12-27 12:47:20','Rafiki','rafiki','','inherit','open','closed','','rafiki','','','2019-12-27 09:47:29','2019-12-27 12:47:29','',778,'http://lapistoladechejov.com/wp-content/uploads/2019/07/rafiki.jpg',0,'attachment','image/jpeg',0),(986,2,'2019-12-27 09:56:47','2019-12-27 12:56:47','Dolor y gloria','dolor_y_gloria','','inherit','open','closed','','dolor_y_gloria','','','2019-12-27 09:56:58','2019-12-27 12:56:58','',779,'http://lapistoladechejov.com/wp-content/uploads/2019/07/dolor_y_gloria.jpg',0,'attachment','image/jpeg',0),(998,2,'2019-12-27 10:11:59','2019-12-27 13:11:59','Phantom thread','phantom_thread','','inherit','open','closed','','phantom_thread','','','2019-12-27 10:12:09','2019-12-27 13:12:09','',809,'http://lapistoladechejov.com/wp-content/uploads/2018/03/phantom_thread.jpg',0,'attachment','image/jpeg',0),(984,2,'2019-12-27 09:56:11','2019-12-27 12:56:11','De tal padre tal hijo','de_tal_padre_tal_hijo','','inherit','open','closed','','de_tal_padre_tal_hijo','','','2019-12-27 09:56:20','2019-12-27 12:56:20','',780,'http://lapistoladechejov.com/wp-content/uploads/2019/07/de_tal_padre_tal_hijo.jpg',0,'attachment','image/jpeg',0),(990,2,'2019-12-27 10:04:04','2019-12-27 13:04:04','La Pointe-Courte','la_pointe_courte','','inherit','open','closed','','la_pointe_courte','','','2019-12-27 10:04:15','2019-12-27 13:04:15','',782,'http://lapistoladechejov.com/wp-content/uploads/2019/04/la_pointe_courte.jpg',0,'attachment','image/jpeg',0),(988,2,'2019-12-27 10:01:47','2019-12-27 13:01:47','El matrimonio de maria braun','el_matrimonio_de_maria_braun','','inherit','open','closed','','el_matrimonio_de_maria_braun','','','2019-12-27 10:01:57','2019-12-27 13:01:57','',781,'http://lapistoladechejov.com/wp-content/uploads/2019/05/el_matrimonio_de_maria_braun.jpg',0,'attachment','image/jpeg',0),(995,2,'2019-12-27 10:09:34','2019-12-27 13:09:34','Moon','moon','','inherit','open','closed','','moon','','','2019-12-27 10:09:42','2019-12-27 13:09:42','',810,'http://lapistoladechejov.com/wp-content/uploads/2018/02/moon.jpg',0,'attachment','image/jpeg',0),(1000,2,'2019-12-27 10:14:27','2019-12-27 13:14:27','Loveless','loveless','','inherit','open','closed','','loveless','','','2019-12-27 10:14:36','2019-12-27 13:14:36','',808,'http://lapistoladechejov.com/wp-content/uploads/2018/03/loveless.jpg',0,'attachment','image/jpeg',0),(993,2,'2019-12-27 10:06:18','2019-12-27 13:06:18','Border','boder','','inherit','open','closed','','boder','','','2019-12-27 10:06:27','2019-12-27 13:06:27','',783,'http://lapistoladechejov.com/wp-content/uploads/2019/04/boder.jpg',0,'attachment','image/jpeg',0),(1005,2,'2019-12-27 10:18:37','2019-12-27 13:18:37','<h2 style=\"font-weight: bold;\">Extravagante y divertida, una mezcla peculiar en el género de comedias románticas.</h2>\nInicio mi viaje a través del cine islandés con este maravilloso descubrimiento, L’effet aquatique, escrita y dirigida por Sólveig Anspach. Cuando Samir, un operador de grúa, ve a Agathe, una instructora de natación, despachar a un pretendiente en un café, se queda completamente hipnotizado. Enamorado y determinado, Samir finge no saber nadar y se anota a las clases de natación en la pileta municipal donde enseña Agathe. Equipado con una malla naranja, gorrito prestado y anteojos gigantes, los ojos de Samir brillan como un niño durante las clases de natación con la chica de sus sueños.\n\nCon un diálogo atrevido y perspicaz, esta comedia romántica me sacó varias sonrisas y risas sin caer en forzosos clichés. Es que la peculiaridad con la que están caracterizados los personajes, sumado a escenarios insólitos como el congreso de instructores de natación en Islandia convierten a esta comedia “screwball” (donde el personaje mete la pata una y otra vez) en una película extravagante y divertida. La encantadora torpeza de Samir con su largo cuerpo y rostro de perro triste, y la irritable e impaciente Agathe, mantienen viva la pantalla con la singular química que tienen entre ambos, a pesar de la historia que va perdiendo su frescura a medida que avanza. De seguro, estaré viendo las demás películas de Sólveig, quien falleció hace un par de años.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/VI72mDmfTtY?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','L\'effet aquatique (2016)','','inherit','closed','closed','','806-autosave-v1','','','2019-12-27 10:18:37','2019-12-27 13:18:37','',806,'http://lapistoladechejov.com/2019/12/27/806-autosave-v1/',0,'revision','',0),(1006,2,'2019-12-27 10:18:55','2019-12-27 13:18:55','El efecto acuatico','el_efecto_acuatico','','inherit','open','closed','','el_efecto_acuatico','','','2019-12-27 10:19:04','2019-12-27 13:19:04','',806,'http://lapistoladechejov.com/wp-content/uploads/2018/03/el_efecto_acuatico.jpg',0,'attachment','image/jpeg',0),(1003,2,'2019-12-27 10:16:38','2019-12-27 13:16:38','Sicario','Benicio Del Toro and Josh Brolin star in SICARIO 2: SOLDADO.','Benicio Del Toro and Josh Brolin star in SICARIO 2: SOLDADO.','inherit','open','closed','','benicio-del-toro-and-josh-brolin-star-in-sicario-2-soldado','','','2019-12-27 10:16:46','2019-12-27 13:16:46','',807,'http://lapistoladechejov.com/wp-content/uploads/2018/03/sicario.jpg',0,'attachment','image/jpeg',0),(1011,2,'2019-12-27 10:22:54','2019-12-27 13:22:54','<h2 style=\"font-weight: bold;\">El amor embarrado de sangre, saliva y mugre.</h2>\nJohnny es un joven granjero en el medio de Inglaterra que desquita las frustraciones de llevar adelante la granja él solo bajo la mirada juzgadora de su padre y de su abuela, quienes viven regañándole a diario. Johnny desquita su rabia ahogándose en alcohol y en sexo casual con extraños, hasta que un día aparece Gheorghe, un extranjero, para ayudar con las ovejas.\n\nAl comienzo, es difícil explicar la hostilidad que siente Johnny hacia Gheorghe, no sabemos si es atracción, fobia o celos. Es un poco arduo además sentir empatía con el irritable Johnny. Sin embargo, con el paso de los días en el campo, esa agresividad se va transformando en atracción hasta que la recompensa es una salvaje y bruta historia de amor, y sobre cómo bajar la guardia y volver a contemplar la belleza en aquellos lugares donde vimos muerte y vacío.\n\nCon un cuidado particular hacia los detalles, en espacial hacia las manos de los personajes, el director nos mete en un universo de mugre, saliva, sangre y barro. Las mismas manos ensangrentadas de Gheorghe que reviven un cordero son las que después recorren el cuerpo de Johnny en un arrebato de excitación. Que las (quizás) crudas imágenes y el frío paisaje campestre no te dejen disfrutar de este relato amargo pero esperanzador.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/OyWievSHxhI?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','God’s Own Country (2017)','','inherit','closed','closed','','804-autosave-v1','','','2019-12-27 10:22:54','2019-12-27 13:22:54','',804,'http://lapistoladechejov.com/2019/12/27/804-autosave-v1/',0,'revision','',0),(1012,2,'2019-12-27 10:23:02','2019-12-27 13:23:02','Gods own country','gods_own_country','','inherit','open','closed','','gods_own_country','','','2019-12-27 10:23:12','2019-12-27 13:23:12','',804,'http://lapistoladechejov.com/wp-content/uploads/2018/03/gods_own_country.jpg',0,'attachment','image/jpeg',0),(1009,2,'2019-12-27 10:21:08','2019-12-27 13:21:08','annihilation','annihilation','','inherit','open','closed','','annihilation','','','2019-12-27 10:21:13','2019-12-27 13:21:13','',805,'http://lapistoladechejov.com/wp-content/uploads/2018/03/annihilation.jpg',0,'attachment','image/jpeg',0),(1014,2,'2019-12-27 10:25:32','2019-12-27 13:25:32','<h2 style=\"font-weight: bold;\">Empoderamiento femenino en un thriller de venganza.</h2>\nLa directora francesa Coralie Fargeat debuta con su primer largometraje Revenge, un thriller atrevido y desesperante situado en el medio del desierto. Cuando los amigos del novio de Jen interrumpen su pequeña escapada romántica, el calor, el alcohol y los excesos no hacen más que elevar la tensión en la casa. Tras un evento traumático, nuestra protagonista emerge del fuego en busca de matar a quienes la hicieron daño.\n\nComo tema, la venganza; y como protagonista, una mujer abusada y ultrajada por los hombres que la rodean. La estética visual elegida para narrar esta historia sangrienta, con una paleta de colores sobre saturados, entre el rosado, el azul del cielo y el naranja del sol, estiliza la violencia y la sexualidad con un look pop inusual para el género, pero que, al igual que la elección de una mujer en el rol protagónico, rompe con los estereotipos configurados en torno a ese tipo de películas. Jen no es como los hombres piensan que es; Revenge, tampoco. Con pocas líneas de diálogo, y solo dos espacios, el desierto y la casa, la cacería ensangrentada que se desencadena es una agonía física que retuerce de dolor las entrañas, pero a la vez impredecible por su ritmo furioso condicionado por la ira de la heroína. Ya el espacio propone un escenario antagónico y hostil que pondrá trabas a los personajes, además de la lucha contra el tiempo por sobrevivir y no morir en el intento.\n\nRevenge no es ajena a las convenciones del género, pero la estilización y el montaje, y el carácter rudo invencible de Jen, quien en ropa interior y armada hasta los dientes causa terror, hacen de la película un viaje más que entretenido. Vale decir que es apta para espectadores con un estómago resistente pero que, sin embargo, bajo los litros de sangre, la realizadora se cuestiona la libertad sexual que tienen la mujeres juzgadas bajo ojos masculinos.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/sJtH-tzpOmg?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Revenge (2018)','','inherit','closed','closed','','784-autosave-v1','','','2019-12-27 10:25:32','2019-12-27 13:25:32','',784,'http://lapistoladechejov.com/2019/12/27/784-autosave-v1/',0,'revision','',0),(1015,2,'2019-12-27 10:25:50','2019-12-27 13:25:50','Revenge','revenge','','inherit','open','closed','','revenge','','','2019-12-27 10:26:00','2019-12-27 13:26:00','',784,'http://lapistoladechejov.com/wp-content/uploads/2019/03/revenge.jpg',0,'attachment','image/jpeg',0),(1017,2,'2019-12-27 10:27:34','2019-12-27 13:27:34','<h2 style=\"font-weight: bold;\">Terror absurdo en el mundo del arte.</h2>\nUn crítico de arte, una galerista ambiciosa, una asistente saturadas del trabajo, un artista en busca de inspiración, un artista emergente, un montajista descuidado y un fallecido artista. ¿Demasiados personajes? Pues sí, pero eso es lo de menos en la nueva película de Dan Gilroy, Velvet Buzzsaw (2019), que ya de entrada se pierde en el relato con una extensa introducción a sus personajes. Vayamos por parte.\n\nAmbientada en la movida artística de Los Ángeles, donde el arte equivale a ceros en un cheque, Josefina descubre por casualidad la obra de Ventril Dease, su vecino de arriba quien muere sin dejar herederos, ni familiares, ni amigos. Su único pedido: que toda su obra sea destruida. Como estamos en una película, es obvio que eso no sucede. Ella aprovecha dar un salto al éxito, y gracias al aval del crítico, quien queda fascinado por la crudeza inquietante de la obra, empieza a sacar provecho de las pinturas. Pero el deseo de destruirse queda impregnada en la obra, y la película cambia de tono y de dirección sin previo aviso. De un planteamiento inicial que pretendía criticar el ajetreo en el mundo del arte, muta a una serie de asesinatos que nada tienen de especial, más que la cantidad de sangre salpicada.\n\nEl poder del fantasma raya lo absurdo; es un ente maligno que posee y se encarna en cualquier obra de arte. Y no es necesario que sea la obra del pintor maldecido, sino aparece en un grafiti, en una escultura, en un dibujo, sin motivo más que asesinar. ¿Por qué? Quién sabe. Ni la excentricidad de Morf bajo la mano de Jake Gyllenhaal puede salvar la película, que termina siendo ni entretenida ni superficial ni mucho menos tenebrosa.','Velvet Buzzsaw (2019)','','inherit','closed','closed','','785-autosave-v1','','','2019-12-27 10:27:34','2019-12-27 13:27:34','',785,'http://lapistoladechejov.com/2019/12/27/785-autosave-v1/',0,'revision','',0),(1018,2,'2019-12-27 10:28:39','2019-12-27 13:28:39','Velvet buzzsaw','velvet_buzzsaw','','inherit','open','closed','','velvet_buzzsaw','','','2019-12-27 10:28:47','2019-12-27 13:28:47','',785,'http://lapistoladechejov.com/wp-content/uploads/2019/03/velvet_buzzsaw.jpg',0,'attachment','image/jpeg',0),(1020,2,'2019-12-27 10:32:45','2019-12-27 13:32:45','Wildlife','wildlife','','inherit','open','closed','','wildlife','','','2019-12-27 10:32:53','2019-12-27 13:32:53','',786,'http://lapistoladechejov.com/wp-content/uploads/2019/01/wildlife.jpeg',0,'attachment','image/jpeg',0),(1022,2,'2019-12-27 10:46:11','2019-12-27 13:46:11','<h2 style=\"font-weight: bold;\">La tan sufrida adolescencia bajo una mirada realista y sensible.</h2>\nEn un video casero, filmado desde su computadora, Kayla habla sobre la importancia de ser uno mismo y no fingir ser alguien más. Admite que la gran mayoría de sus compañeros piensan que ella no habla mucho, pero que en realidad eso no es verdad. A medida que la cámara se aleja, descubrimos a Kayla, en la esquina de su oscura habitación, en un set improvisado con lámparas como luces y una sábana como tela de fondo. La imagen virtual que proyecta en sus videos no puede estar más alejada a su personalidad real, una chica insegura que intenta entablar, sin éxito, algún tipo de relación con sus compañeros.\n\nA Kayla le queda una semana más de supervivencia en el octavo grado, y quizás una semana más para librarse del estigma de ser la más callada del curso. El espejo de su baño está cubierto en mensajes de motivación, que la incitan a dar lo mejor de ella cada día, y de hecho, lo hace. Su rutina arranca con un video tutorial de maquillaje en YouTube, seguido de una selfie en Snapchat y lista para enfrentar el día. Pero para sus compañeros, absortos en las redes sociales, ella es invisible. Y la tecnología solo dificulta la interacción cara a cara. Con sus rostros pegados a la pantalla, tanto chicas como chicos la ignoran por completo. El sufrimiento que produce este vacío es distinto al de ser humillado, o víctima de bromas constantes, pero es una angustia igual.\n\nCon un tono natural, tanto así que parece un documental, el director Bo Burnham, quien en su adolescencia fue una estrella viral de YouTube, ofrece una mirada realista sobre la adolescencia, esa terrible edad plagada de inseguridad, hormonas y acné, a través de momentos intensos cargados de emociones, tanto malas como buenas. La película se enfoca en las dificultades por las que Kayla atraviesa, sin caer en un tono condescendiente ni abusar en la crueldad. Además, gracias a la fabulosa interpretación de su actriz protagónica Elsie Fisher, podemos compartir con Kayla aquellos pequeños momentos de felicidad que son todo para ella, y para el espectador también.\n<div></div>\n<div></div>','Eighth Grade (2018)','','inherit','closed','closed','','787-autosave-v1','','','2019-12-27 10:46:11','2019-12-27 13:46:11','',787,'http://lapistoladechejov.com/2019/12/27/787-autosave-v1/',0,'revision','',0),(1023,2,'2019-12-27 10:46:13','2019-12-27 13:46:13','Eighth grade','eighth_grade','','inherit','open','closed','','eighth_grade','','','2019-12-27 10:46:30','2019-12-27 13:46:30','',787,'http://lapistoladechejov.com/wp-content/uploads/2019/01/eighth_grade.jpg',0,'attachment','image/jpeg',0),(1025,2,'2019-12-27 10:48:31','2019-12-27 13:48:31','Happy end','happy_end','','inherit','open','closed','','happy_end','','','2019-12-27 10:48:39','2019-12-27 13:48:39','',803,'http://lapistoladechejov.com/wp-content/uploads/2018/03/happy_end.jpg',0,'attachment','image/jpeg',0),(1026,2,'2019-12-27 10:48:36','2019-12-27 13:48:36','<h2 style=\"font-weight: bold;\">Insatisfactoria e inconclusa.</h2>\nHappy End (2017) de Michael Haneke, gira alrededor de una familia de clase alta que vive en una enorme mansión de Calais, los Laurents. George, el abuelo, ha perdido las ganas de vivir. Ana, la hija mayor, ahora a cargo de la empresa constructora familiar, está siendo investigada por un derrumbe en una de las obras. Tras la sobredosis de su ex mujer, Thomas, el otro hijo de George, debe ahora hacerse cargo de su hija Eve.\n\nRepitiendo recursos narrativos que, en mi parecer, parecen ser utilizados sin justificación aparente, como peleas desarrolladas a medio kilómetro de la mirada del espectador, o conversaciones inaudibles al otro lado de la calle, Haneke pretende sostener la intriga ocultando secretos entre los personajes y los chats en pantalla, pero cuando eso se va desvelando ya esa curiosidad inicial se transformó en puro aburrimiento. Hay una recurrencia de ciertos temas como la eutanasia, el voyerismo, la vigilancia tecnológica, la diferencia social, pero que son tratados con tal levedad que queda incierto hacia donde quiere llegar.\n\nAdemás de plantear quizás una cierta mirada fatalista al mundo moderno dependiente a las pantallas usando referencias de redes sociales como Facebook o Snapchat, la película no es más que un compilado de situaciones de una familia al borde de una crisis cuya catarsis nunca llega ya que la historia sigue como si nada, hasta un final inconcluso e insatisfactorio y (me atrevo a decir) bastante predecible.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/BfPvd3NiIsU?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Happy End (2017)','','inherit','closed','closed','','803-autosave-v1','','','2019-12-27 10:48:36','2019-12-27 13:48:36','',803,'http://lapistoladechejov.com/2019/12/27/803-autosave-v1/',0,'revision','',0),(1028,2,'2019-12-27 10:50:20','2019-12-27 13:50:20','<h2 style=\"font-weight: bold;\">Por momentos entretenida, pero nada extraordinaria.</h2>\nNo te dejes engañar. La última de Ridley Scott sobre el secuestro de Paul Getty III, nieto del hombre más rico del mundo, Paul Getty, no es tanto sobre la búsqueda de Paul y las negociaciones con los secuestradores, sino más bien se enfoca en sobre cómo la madre de Paul hace lo imposible para conseguir que el avaro abuelo billionario pague el rescate.\n\nLarga, con escenas que sobran más que avanzar la trama, como las innecesarias explicaciones de Paul abuelo haciendo negocios o saltos redundantes en el tiempo que tratan de develar la relación del abuelo con el nieto secuestrado, All the Money in the World se pone un poco más interesante solo hacia el final, llegando al clímax en una persecución estilo juego a las escondidas en una pequeña villa italiana donde por fin el secuestro vuelve a ser la trama principal. Es entretenida, por momentos, y tiene un elenco interesante, salvo Mark Wahlberg que desentona tanto como la exagerada repetición de la frase “Sos un Getty”.\n\nNo esperaba tanto, pero lo que empezó queriendo ser un thriller, terminó siendo un drama familiar sobre las cosas que el dinero no puede comprar.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/cOba7w51pKk?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','All The Money in the World (2017)','','inherit','closed','closed','','802-autosave-v1','','','2019-12-27 10:50:20','2019-12-27 13:50:20','',802,'http://lapistoladechejov.com/2019/12/27/802-autosave-v1/',0,'revision','',0),(1029,2,'2019-12-27 10:50:57','2019-12-27 13:50:57','All the money','all_the_money','','inherit','open','closed','','all_the_money','','','2019-12-27 10:51:07','2019-12-27 13:51:07','',802,'http://lapistoladechejov.com/wp-content/uploads/2018/03/all_the_money.jpg',0,'attachment','image/jpeg',0),(1034,2,'2019-12-27 10:54:40','2019-12-27 13:54:40','Freak show','freak_show','','inherit','open','closed','','freak_show','','','2019-12-27 10:54:56','2019-12-27 13:54:56','',800,'http://lapistoladechejov.com/wp-content/uploads/2018/03/freak_show.jpg',0,'attachment','image/jpeg',0),(1035,2,'2019-12-27 10:54:44','2019-12-27 13:54:44','<h2 style=\"font-weight: bold;\">Una historia de adolescentes sobre la homofobia, pero fastidiosa y superficial.</h2>\nCuando su madre entra a rehabilitación, Billy Bloom se muda a una secundaria ultra conservadora, donde decide postularse para ser reina del baile.\n\nSi bien las intenciones y el mensaje son apreciados, resulta un poco superficial al no ahondar ni siquiera en nuestro héroe protagonista, cuya búsqueda parece ser un mero capricho personal más que un intento por remendar sus relaciones familiares y personales. Es más, Billy nunca termina de convencer del todo porque debajo de sus fabulosos vestuarios parece no haber más que un chico egocéntrico que ni siquiera recuerda el nombre de la única chica que se acerca a él el primer día de clases.\n\nCapaz la realidad sea así en algunos colegios, pero me cuesta creer lo inverosímil de los personajes que rozan una fantasía, y el cliché empalagoso de otros. Desde la madre alcohólica, el sensible jugador de fútbol que quiere ser artista, la rival evangélica quien cita a Trump y hace coreos con rezos, son personajes aislados, salpicados en la trama y cuyas intervenciones y aportes son intranscendentales. Hasta cuando el padre de Billy reconoce a su hijo parece forzoso. Rescato el mensaje de aceptación a la diversidad, de aceptar quién uno es, pero solo espero que el mensaje no sea contaminado por lo insustancial de la película.\n<div></div>\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/drg74wOy8z8?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Freak Show (2017)','','inherit','closed','closed','','800-autosave-v1','','','2019-12-27 10:54:44','2019-12-27 13:54:44','',800,'http://lapistoladechejov.com/2019/12/27/800-autosave-v1/',0,'revision','',0),(1032,2,'2019-12-27 10:52:51','2019-12-27 13:52:51','Mom and dad','mom_and_dad','','inherit','open','closed','','mom_and_dad','','','2019-12-27 10:53:00','2019-12-27 13:53:00','',801,'http://lapistoladechejov.com/wp-content/uploads/2018/03/mom_and_dad.jpg',0,'attachment','image/jpeg',0),(1037,2,'2019-12-27 10:56:47','2019-12-27 13:56:47','Love simon','love_simon','','inherit','open','closed','','love_simon','','','2019-12-27 10:56:55','2019-12-27 13:56:55','',799,'http://lapistoladechejov.com/wp-content/uploads/2018/04/love_simon.jpeg',0,'attachment','image/jpeg',0),(1039,2,'2019-12-27 10:58:31','2019-12-27 13:58:31','Las herederas','las_herederas','','inherit','open','closed','','las_herederas','','','2019-12-27 10:58:40','2019-12-27 13:58:40','',798,'http://lapistoladechejov.com/wp-content/uploads/2018/06/las_herederas.jpg',0,'attachment','image/jpeg',0),(1041,2,'2019-12-27 10:59:50','2019-12-27 13:59:50','<h2 style=\"font-weight: bold;\">Construyendo suspenso sobre una premisa atípica.</h2>\nHan pasado muchos años desde que Byung-soo ha matado a alguien. Ahora, él es un asesino serial retirado que sufre de Alzheimer y vive con su hija Eun-hee, quien se encarga de rescatarle cuando él se desorienta o pierde en los bosques de bambú. Un día de regreso a su casa, Byung-soo choca contra un extraño y al encontrar sangre en el maletero trasero, sospecha que él también un asesino serial. Pero deberá luchar contra su memoria traicionera para salvar a su hija de este misterioso personaje. Ya desde un inicio, la premisa es cautivante.\n\nBasada en el libro de Kim Young-ha, Memoir of a Murderer construye el misterio a través del juego de persecución entre los dos asesinos. Desesperante, y con una utilización narrativa acertada de saltos en el tiempo, la historia es relatada a través de los recuerdos que va contando Byung-soo, y como espectadores víctimas de su foco, estamos supeditados a los lapsos de lucidez por el cual él atraviesa. La tensión es generada por el suspenso de saber más que nuestro protagonista y nuestro enemigo, y a sabiendas que en cualquier momento ambos se enfrentarán y las cosas saldrán bien, o mal para ellos.\n\nMe resulta curioso encontrar similitudes de ciertos estereotipos latentes en nuestro cine y el cine de Corea del Sur; uno de estos aspectos sin duda es la representación de la fuerza de la ley como inepta y por lo tanto los policías son siempre bufones torpes incapaces de resolver crímenes que ocurren frente a sus ojos.\n\nEs mucho menos sangrienta a lo que su título podría sugerir y la fotografía de la película ofrece un goce visual estético con las escenas Byung-soo en los bosques de bambú o con las escenas en la nieve complementados con una paleta oscura en concordancia con el tono. Sin lugar a dudas, Memoir of a Murderer de Shin-yeon Won se destaca entre las películas coreanas de crimen y misterio.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/QAGZ9srTHDM?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Memoir of a Murderer (2017)','','inherit','closed','closed','','797-autosave-v1','','','2019-12-27 10:59:50','2019-12-27 13:59:50','',797,'http://lapistoladechejov.com/2019/12/27/797-autosave-v1/',0,'revision','',0),(1042,2,'2019-12-27 11:00:36','2019-12-27 14:00:36','Memoir of a murderer','memoir_of_a_murderer','','inherit','open','closed','','memoir_of_a_murderer','','','2019-12-27 11:00:46','2019-12-27 14:00:46','',797,'http://lapistoladechejov.com/wp-content/uploads/2018/09/memoir_of_a_murderer.jpg',0,'attachment','image/jpeg',0),(1044,2,'2019-12-27 11:02:43','2019-12-27 14:02:43','<h2 style=\"font-weight: bold;\">Cuando la historia del arte cambia de protagonista.</h2>\nDirigido por Christian Schwochow, Paula narra la vida de la artista alemana Paula Modersohn-Becker, una de las precursoras del modernismo a principios del siglo XX. Incomprendida en su época, sus pinturas se asimilaban al estilo pictórico de Paul Cézanne, con diferencias en los temas de interés de Paula quien se enfocaba casi en su totalidad en retratar mujeres realizando labores cotidianos o al desnudo.\n\nCuando la historia del arte (y de la humanidad en general) tal como la conocemos hoy en día posee un punto de vista masculino, es maravilloso descubrir la vida de mujeres nacidas injustamente en un mundo patriarcal donde la lucha por vivir como artista se enfrentaba no solo a las estructuras y pre concepciones del arte clásico sino también a las exigencias esperadas de ella como mujer, y por consecuencia, su rol como madre y ama de casa devota a las tareas del hogar. Pero la ambición de Paula y sus deseos por pintar al menos tres buenos cuadros, tal como lo dice en la película, la condujeron en la búsqueda incansable de espacios alternativos donde potenciar su arte y la particular manera que tenía de mirar al mundo.\n\nPaula fue criticada una y otra vez por otros artistas hombres, quienes hasta incluso abarajaron la posibilidad de internarla en una institución psiquiátrica con el objetivo de rectificar lo que ellos consideraban desviaciones anormales en una mujer manifestadas en su carácter desenvuelto y en su afán por retratar desnudos. Paula Becker no solo fue una de las precursoras más precoces del expresionismo en Alemania, sino además fue la primera en realizar un autorretrato al desnudo.\n\nLa película es un retrato feminista de la artista, quien a pesar de ser el hazmerreír de las personas que le rodeaban y víctima de la era en la que le tocó vivir, siguió pintando buscando su libertad creativa como mujer y artista.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/2m69Yz1-Z60?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','Paula (2016)','','inherit','closed','closed','','796-autosave-v1','','','2019-12-27 11:02:43','2019-12-27 14:02:43','',796,'http://lapistoladechejov.com/2019/12/27/796-autosave-v1/',0,'revision','',0),(1045,2,'2019-12-27 11:02:56','2019-12-27 14:02:56','Paula','paula','','inherit','open','closed','','paula','','','2019-12-27 11:03:11','2019-12-27 14:03:11','',796,'http://lapistoladechejov.com/wp-content/uploads/2018/10/paula.jpeg',0,'attachment','image/jpeg',0),(1050,2,'2019-12-27 11:08:37','2019-12-27 14:08:37','Bohemian rhapsody','bohemian_rhapsody','','inherit','open','closed','','bohemian_rhapsody','','','2019-12-27 11:09:14','2019-12-27 14:09:14','',794,'http://lapistoladechejov.com/wp-content/uploads/2018/11/bohemian_rhapsody.jpg',0,'attachment','image/jpeg',0),(1051,2,'2019-12-27 11:08:48','2019-12-27 14:08:48','<h2 style=\"font-weight: bold;\">Nostálgicamente entretenida.</h2>\nProponerse la realización de una película biográfica sobre una de las mayores bandas de rock de todos los tiempos no es tarea fácil, y más aún cuando la banda retratada es Queen, inmortalizada por sus músicas que trascendían los géneros y rompían los límites de lo convencional. Bohemian Rhapsody de Brayn Singer es un resultado bastante entretenido que explora el proceso creativo de la banda y la frágil personalidad Freddie subyacente a su extravagante carácter.\n\nPodríamos poner bajo tela de juicio ciertas licencias narrativas tomadas, como por ejemplo el hecho de que en realidad Freddie fue diagnosticado con SIDA recién en 1987, dos años después del emblemático concierto benéfico Live Aid donde él dio su mejor actuación, pero el dramatismo que otorga este cambio en función a honrar su figura legendaria lo recibo con gusto y me sumerjo dentro del público en una secuencia de casi veinte minutos realizada con una destreza cinematográfica que eriza la piel.\n\nRescato la decisión de dejar afuera ciertos momentos de la vida de Freddie, como por ejemplo sus últimos días enfermo y moribundo, en función a glorificar aún más su legado como artista y persona. De la misma manera, estoy segura que muchos detalles o momentos de la carrera de la banda fueron dejados de lado pero la película no deja de ser entretenida de principio a fin por más que pretende abarcar una audiencia masiva. Es imposible no deleitarse con la personificación que realiza Rami Malek del majetuoso Freddi Mercury, que tambalea entre la vulnerabilidad y la aparente autoconfianza, así como pretender no vibrar con las canciones y salir de cine cargados de nostalgia.','Bohemian Rhapsody (2018)','','inherit','closed','closed','','794-autosave-v1','','','2019-12-27 11:08:48','2019-12-27 14:08:48','',794,'http://lapistoladechejov.com/2019/12/27/794-autosave-v1/',0,'revision','',0),(1048,2,'2019-12-27 11:05:57','2019-12-27 14:05:57','El angel','el_angel','','inherit','open','closed','','el_angel','','','2019-12-27 11:06:10','2019-12-27 14:06:10','',795,'http://lapistoladechejov.com/wp-content/uploads/2018/10/el_angel.jpg',0,'attachment','image/jpeg',0),(1058,2,'2019-12-27 11:19:14','2019-12-27 14:19:14','Roma','roma','','inherit','open','closed','','roma','','','2019-12-27 11:19:22','2019-12-27 14:19:22','',792,'http://lapistoladechejov.com/wp-content/uploads/2018/12/roma.jpg',0,'attachment','image/jpeg',0),(1054,2,'2019-12-27 11:12:34','2019-12-27 14:12:34','My happy family','my_happy_life','','inherit','open','closed','','my_happy_life','','','2019-12-27 11:12:46','2019-12-27 14:12:46','',793,'http://lapistoladechejov.com/wp-content/uploads/2018/11/my_happy_life.jpg',0,'attachment','image/jpeg',0),(1059,2,'2019-12-27 11:19:33','2019-12-27 14:19:33','<h2 style=\"font-weight: bold;\">La belleza de los recuerdos.</h2>\nSituada en México durante la década de los 70, Roma (2018) narra la vida de una empleada doméstica que trabaja para una familia de clase media en un barrio de la capital mexicana.\n\nDirigida por Alfonso Cuarón, Roma inicia con los créditos sobre el piso del garaje de la casa. Solo a través de los ruidos, escuchamos a alguien baldear el suelo, fregar con la escoba y escurrir el agua hacia la canaleta. En el reflejo del agua se proyecta la casa y más allá, ya por encima de las nubes, un avión cruza el cielo. Un avión tan imperceptible y tan perecedero como la vida misma de los personajes que van a palpitar en el relato.\n\nLa protagonista de la película es Cleo, una mujer que se ocupa de todos los quehaceres del hogar, desde despertar al hijo más pequeño hasta preparar el té de manzanilla del padre cuando él regresa bien entrada la noche. Cleo convive con la familia en un vago limbo entre familiar y empleada. Es que pasa tanto tiempo en la casa que a medida que los hijos crecen, ella también lo hace. Ella es testigo silenciosa a lo que sucede en el hogar, las disputas, las peleas y los abrazos. Es cómplice cuándo conviene para la madre, su empleadora, pero intrusa cuando sus intervenciones no son pertinentes o la posicionan en una postura vergonzosa. Ella es parte de la familia pero a la vez una foránea, una extraña que sabe mucho más de ellos que lo que ellos saben de ella.\n\nCada cuadro y cada escena posee una profundidad de campo que trasciende lo visual para propagarse al nivel de la historia. En primer lugar está Cleo, su mundo, su pequeña pieza compartida y su amante. Luego está ella en la familia, entre los labores domésticos y las canciones de cuna en mixteco. Por último, pero no menos importante, está el mundo afuera de la casa y la situación sociopolítica de México que completa el universo de Roma en un nivel de detalle tan palpable que nos vuelve a enamorar de la vida. Los escasos primeros planos son un regalo al deseo de acercarnos más a los personajes como un intento de aprehender un sueño.\n\nNuestra mirada es limitada y direccionada a través de sutiles movimientos de cámara que describen cada rincón del espacio y del momento. Somos testigos de caricias que se convierten en abrazos, de mentiras que se esfuman bajo las puertas cerradas y lágrimas contenidas que brotan cuando menos se las espera. El realismo detallado de la fotografía, de la mano del mismo Cuarón, se despoja de los colores para retratar una memoria que se despliega ante nuestros ojos como un recuerdo angustioso que perdura con regocijo.\n\nEn cuanto a la narración se refiere, cada escena, por más que parezca que no sucede mucho, resplandece con la belleza de lo cotidiano y esa observación minuciosa hacia los detalles que envuelven la rutina del día a día. El granizo, el fuego y el mar se convierten en elementos catalizadores de los momentos más álgidos de la trama y la profundidad de campo en recurso desgarrador para construir la aflicción de las escenas más dolorosas.\n\nRoma es un homenaje a Libo, la mujer que crió a Cuarón durante su infancia, pero también es sobre la memoria y los recuerdos, el amor y la falta de amor, la angustia y la pérdida. Roma es una veneración a la resiliencia humana que invita a reflexionar sobre aquellas personas invisibles en nuestras vidas, quienes tuvieron el poder especial de sostenerse en un pie con los ojos cerrados. La vida cotidiana nunca fue observada con tanta delicadeza ni sensibilidad.','Roma (2018)','','inherit','closed','closed','','792-revision-v1','','','2019-12-27 11:19:33','2019-12-27 14:19:33','',792,'http://lapistoladechejov.com/2019/12/27/792-revision-v1/',0,'revision','',0),(1063,2,'2019-12-27 11:24:44','2019-12-27 14:24:44','Bird box','bird_box','','inherit','open','closed','','bird_box','','','2019-12-27 11:24:56','2019-12-27 14:24:56','',790,'http://lapistoladechejov.com/wp-content/uploads/2019/01/bird_box.jpg',0,'attachment','image/jpeg',0),(1065,2,'2019-12-27 11:26:27','2019-12-27 14:26:27','<h2 style=\"font-weight: bold;\">Buscando al asesino desde una cabina.</h2>\nAsger, un oficial confinado a derivar llamadas telefónicas de emergencia en las cabinas de atención de la estación policial, espera con paciencia que acabe la tediosa jornada. Pero al recibir una llamada de auxilio de una mujer secuestrada, desde su escritorio, hará todo lo posible por salvarla en una carrera contra el tiempo y contra él mismo.\n\n<span style=\"font-family: inherit; font-size: 1rem; letter-spacing: inherit;\">Ambientado en una sola locación, y con el tiempo del relato corriendo a la par que la película, Den Skyldige es el resultado en conjunto de una inteligente puesta en escena sostenida en la actuación, el guión y la dirección construida en función a elevar gradualmente la tensión.</span>\n\nA través de los recursos sonoros se manifiesta un fuera de campo invisible pero perceptible; los silencios, los diálogos, las pisadas y hasta el movimiento del auto que oímos a través del auricular de Asger es nuestro único contacto al mundo fuera de la cabina. La impotencia es tal, que este espacio se convierte en una cárcel, claustrofóbica e indestructible. Gracias a los oídos del protagonista que actúan como los nuestros, escenas transcurren en su totalidad en nuestra imaginación.\n\nLa trama no se concentra en solo de resolver el misterio y encontrar al culpable, sino que indaga en el carácter del personaje y su turbio pasado. De poco, como tirando de un hilo, o persiguiendo pistas que conducen a un callejón sin salida, secretos se develan, pequeños pedazos de información que vuelcan la historia y ponen a prueba nuestra tolerancia.\n\nCon el rostro de Asger en un casi constante primer plano, en la mente del espectador, la violencia adquiere una forma tan horripilante que revuelve las tripas. Cuando \"Mostrar, no contar\" suele ser una regla de oro en el relato cinematográfico, el director Gustav Möller demuestra que sin mostrar nada, o más bien mostrando muy poco, con un policía, un teléfono y dos habitaciones, puede contar mucho más de lo que se dice en las llamadas telefónicas. Una clase magistral de suspenso.\n<div></div>\n<iframe src=\"https://www.youtube.com/embed/abaoKA6rn5k?feature=oembed\" width=\"480\" height=\"270\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n<div></div>','The Guilty (2018)','','inherit','closed','closed','','789-autosave-v1','','','2019-12-27 11:26:27','2019-12-27 14:26:27','',789,'http://lapistoladechejov.com/2019/12/27/789-autosave-v1/',0,'revision','',0),(1061,2,'2019-12-27 11:21:22','2019-12-27 14:21:22','Cold war','cold_war','','inherit','open','closed','','cold_war','','','2019-12-27 11:21:32','2019-12-27 14:21:32','',791,'http://lapistoladechejov.com/wp-content/uploads/2018/12/cold_war.jpg',0,'attachment','image/jpeg',0),(1066,2,'2019-12-27 11:26:51','2019-12-27 14:26:51','The guilty','the_guilty','','inherit','open','closed','','the_guilty','','','2019-12-27 11:27:00','2019-12-27 14:27:00','',789,'http://lapistoladechejov.com/wp-content/uploads/2019/01/the_guilty.jpg',0,'attachment','image/jpeg',0),(1071,1,'2019-12-28 16:01:48','2019-12-28 19:01:48','<!-- wp:heading -->\n<h2>Servicios ofrecidos</h2>\n<!-- /wp:heading -->\n\n<h3>Escritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-965\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-01-150x150.png\" alt=\"\" width=\"150\" height=\"150\">Escritura de guiones de cortometrajes, mediometrajes y largometrajes de ficción a ser producidos por otro director/a. Desarrollo y escritura de contenidos diversos como series web, guiones publicitarios o spots televisivos.</p>\n<h3> </h3>\n<h3>Coescritura de guiones</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-966\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-03-150x150.png\" alt=\"Servicio de coescritura\" width=\"150\" height=\"150\">Cooescritura en conjunto con otro director/a o guionista. Cooescritura en base a una idea original o historia original de otro guionista, director/a o productor/a. Escritura de guión en base a una sinopsis ya previamente definida por otro director/a, productor/a o guionista. Asesoría de guiones de cortometrajes, mediometrajes y largometrajes de ficción en etapas de desarrollo, preproducción o producción. Consultoría sobre materiales ya filmados en etapas de post producción.</p>\n<h3>Asesoría de proyectos</h3>\n<p><img class=\"alignleft size-thumbnail wp-image-967\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/LA-PISTOLA-servicios-para-web-04-150x150.png\" alt=\"Servicio de asesoria\" width=\"150\" height=\"150\">Asesoría de proyectos de escritura desde la idea al guión final. Servicio de Script Doctor con sesiones de lectura y análisis escena por escena.</p>','Guiones','','inherit','closed','closed','','811-revision-v1','','','2019-12-28 16:01:48','2019-12-28 19:01:48','',811,'http://lapistoladechejov.com/2019/12/28/811-revision-v1/',0,'revision','',0),(1072,1,'2019-12-28 16:06:05','2019-12-28 19:06:05',' ','','','publish','closed','closed','','1072','','','2020-06-11 14:23:10','2020-06-11 18:23:10','',0,'http://lapistoladechejov.com/?p=1072',6,'nav_menu_item','',0),(1073,1,'2019-12-28 16:06:06','2019-12-28 19:06:06',' ','','','publish','closed','closed','','1073','','','2020-06-11 14:23:05','2020-06-11 18:23:05','',0,'http://lapistoladechejov.com/?p=1073',4,'nav_menu_item','',0),(1074,1,'2019-12-28 16:06:06','2019-12-28 19:06:06',' ','','','publish','closed','closed','','1074','','','2020-06-11 14:23:07','2020-06-11 18:23:07','',0,'http://lapistoladechejov.com/?p=1074',5,'nav_menu_item','',0),(1069,2,'2019-12-27 11:28:39','2019-12-27 14:28:39','Lazzaro felice','lazzaro_felice','','inherit','open','closed','','lazzaro_felice','','','2019-12-27 11:28:49','2019-12-27 14:28:49','',788,'http://lapistoladechejov.com/wp-content/uploads/2019/01/lazzaro_felice.jpg',0,'attachment','image/jpeg',0),(1091,2,'2020-01-28 06:58:13','2020-01-28 09:58:13','<h2>En un futuro no tan lejano.</h2>\n<p><span style=\"font-weight: 400;\">El cine de Kleber Mendonça Filho se erige sobre una preocupación palpable por su entorno y las relaciones del ser humano dentro de su hogar, que más allá de ser un espacio físico en el cual se construye la vida privada y pública, es memoria, historia, e identidad, sea este un país, un pueblo, un vecindario, o incluso un departamento. Y es el vínculo que forjan sus personajes con este ambiente donde habitan, y la inevitable mutación de las condiciones del mismo, lo que suscita los conflictos internos y externos. Pero para el director y guionista brasileño estos cambios nunca son gratuitos, pues el desplazamiento de las personas se manifiesta como consecuencia directa del proceso de gentrificación y urbanización que obliga el desalojo violento de las minorías arraigadas a un espacio; bajo la metamorfosis del mundo que prioriza a los fuertes sobre los débiles subyace una fuerte crítica social.</span></p>\n<p><span style=\"font-weight: 400;\">En este sentido, su último film  </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> (2019) está teñido del contexto sociopolítico actual que predica un futuro no tan inverosímil en un tiempo no tan lejano. Ubicado al norte de Brasil lejos de cualquier metrópoli, la población de Bacurau se enfrenta a problemas de supervivencia como el hambre, las enfermedades o el acceso al agua potable, necesidades básicas que son ignoradas por el candidato a intendente de la región pese a la resistencia y a la lucha diaria de sus pocos habitantes. El político, corrupto e insolente, solo desea votantes, y para hacerlo es capaz de mantener a la villa bajo asedio con las rutas clausuradas que impiden el acceso y la salida de cualquier persona. La muerte de la matriarca del pueblo, y la llegada de su nieta con una valija de remedios, abre un relato que aparenta ser un drama rural de lucha obstinada contra el gobierno descarado que destina alimentos vencidos e inhibidores de carácter en forma de analgésico con la esperanza absurda de lograr la sumisión completa del pueblo. Aparenta, porque una serie de situaciones inexplicables e impredecibles que van sucediendo en Bacurau zarandea cualquier conjetura posible.  </span></p>\n<p><span style=\"font-weight: 400;\">Si en </span><b><i>Aquarius </i></b><span style=\"font-weight: 400;\">(2016) el enfrentamiento estaba dado entre la invasión forzoza de una inmobiliaria megalómana y una mujer que se resistía a abandonar el edificio donde vivió toda su vida, en </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\"> la súbita desaparición del pueblo en el mapa anticipa una irrupción que alcanza niveles de violencia inimaginables, pues supone prescindir por completo de las familias que viven ahí y que para el político son un disturbio más. La maquinaria que opera detrás de los eventos trágicos carece de un ápice de moralidad, y no deja de atemorizar por lo probable que podría ser la caza deportiva de personas, que no solo se dio en tiempos recientes (la dictadura de Alfredo Stroessner había permitido la caza de indígenas aché) pero que podría incluso darse hoy en día.</span></p>\n<p><span style=\"font-weight: 400;\">Aquí, los invasores europeos y norteamericanos disponen de los cuerpos tercermundistas al servicio de una industria más, un parque de diversiones, y el gobierno oferta seres humanos como un mero premio. Pero los habitantes de Bacurau se rehúsan a sucumbir, y en la resistencia, las imágenes estilizadas y saturadas de Mendonça derrochan violencia y goce, porque la identificación con el pueblo abusado y menospreciado, víctima de muerte, dolor y sufrimiento, desemboca en una pulsión de venganza y sublevación colectiva al son de bajos sintetizados y drogas alucinógenas.</span></p>\n<p><span style=\"font-weight: 400;\">Basta con mirar la historia y el presente para dudar del aspecto ficticio de </span><b><i>Bacurau</i></b><span style=\"font-weight: 400;\">. La situación sociopolítica de Brasil, bajo el mandato de un presidente ultraderechista, siniestro y polémico, que desata una guerra abierta contra los pueblos indígenas del Amazonas, que pisotea sobre los derechos humanos y que esconde en su agenda política un régimen que avala el genocidio y el etnocidio, alimenta el cine denunciatorio de Mendonça, que aquí con un fervor colérico, cargado de ira y miedo, conjuga diversos géneros cinematográficos como el gore y el western para gritar con fuerza. Porque ya no es el espacio el que cambia, sino la eliminación casi sistemática de las personas que no se ajustan al cambio impuesto. Para citar a uno de sus personajes, ¿estará exagerando Mendonça? Y la respuesta, al menos de nuestra parte, es un rotundo no.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=RZVpW5yC3pM\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=RZVpW5yC3pM\n</div></figure>\n<!-- /wp:core-embed/youtube -->','Bacurau (2019)','','publish','open','open','','bacurau-2019','','','2020-01-28 09:23:16','2020-01-28 12:23:16','',0,'http://lapistoladechejov.com/?p=1091',0,'post','',0),(1078,1,'2019-12-28 16:30:00','2019-12-28 19:30:00','<h2>Alexandra Vazquez</h2>\n<h3>Crítica de cine, docente, guionista.</h3>\n<p dir=\"ltr\"><img class=\"alignleft size-medium wp-image-935\" src=\"http://lapistoladechejov.com/wp-content/uploads/2019/12/Alexandra-Vazquez-imagen-perfil-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" />Alexandra Vazquez, crítica de cine, guionista y realizadora. Máster en Crítica Cinematográfica egresada de la escuela Aula Crítica, en Barcelona, y Lic. en Cinematografía con énfasis en Guión de la Universidad Columbia del Paraguay.</p>\n<p dir=\"ltr\">En su carácter de crítica, escribe para la revista internacional de crítica especializada El Espectador Imaginario y para su blog <i>La Pistola de Chéjov</i>. Además, es coordinadora y disertante del ciclo de cine debate gratuito <i>En Foco</i> que se realiza una vez al mes. Ha escrito también para la Revista Encuadra de Argentina y ha participado del Talent Press en el marco del Buenos Aires Talents, foro de discusión cinematográfico organizado por la Universidad del Cine en colaboración con el Festival de Cine de Berlín, Berlinale Talents, el Goethe-Institut Buenos Aires y el BAFICI. <span id=\"m_-6650225958021873647gmail-docs-internal-guid-5c1dc301-7fff-31c3-eb3f-caa271f286b4\">Trabaja además como guionista freelance y script doctor y desde el 2017 se desempeña como docente en la carrera de cinematografía de la Universidad Columbia.</span></p>\n<p dir=\"ltr\">Se encuentra desarrollando Yo también, proyecto de largometraje que ha participado en el Taller Cinematográfico Los Residentes, en Paraguay (2017), y en el 6to Laboratorio de Guion organizado por la Corporación Cinefilia, en Colombia (2018). El proyecto ha formado parte de la selección oficial del Oaxaca Filmfest 2017, México, en la categoría de Global Script Challenge.</p>\n<p dir=\"ltr\"></p>\n[col size=\"8\"]\n\n[contact-form-7 id=\"5\" title=\"Contact Us\"]\n\n[/col]','Contacto','','inherit','closed','closed','','818-revision-v1','','','2019-12-28 16:30:00','2019-12-28 19:30:00','',818,'http://lapistoladechejov.com/2019/12/28/818-revision-v1/',0,'revision','',0),(1099,2,'2020-02-01 09:47:37','2020-02-01 12:47:37','<h2>Destellos de nostalgia y melancolía.</h2>\n<p><span style=\"font-weight: 400;\">Con unas fotografías en blanco y negro de una decaída ciudad sumida en la pobreza, Julie narra la idea de un proyecto de largometraje ficción que indaga una relación abrumadora entre madre e hijo, y el miedo agobiante que él siente ante la sola posibilidad de perderla. Al final, cuenta Julie, la madre muere, porque el amor infinito, casi obsesivo no pudo contra la muerte. En estas primeras imágenes y en estas primeras líneas de diálogo se esconde el eje argumental de </span><b><i>The Souvenir </i></b><span style=\"font-weight: 400;\">(2019), una película íntima que relata los altibajos de la relación turbulenta entre una estudiante de cine y un hombre misterioso.</span></p>\n<p><span style=\"font-weight: 400;\">Julie conoce a Anthony en una fiesta en su departamento. Su carácter enigmático, opaco, se retrata en la historia; no en vano su presencia se resguarda del encuadre. Cuando le vemos por primera vez, es apenas una sombra que entra y sale del cuadro y las veces siguientes, se nos vela su figura mediante espejos o posiciones de espalda. Recién durante la primera cita en un cafetería ostentosa, y sólo cuando él pide la cuenta, es que su rostro se dibuja con claridad ante la cámara. Es innegable que su personalidad, entre erudita y arrogante (y un tanto sensual) suscita interés, pero aquella pesadumbre que lo acosa tarde o temprano será visible, ya sea en un gesto tan imperceptible como rascarse el brazo o pedir prestado dinero. </span></p>\n<p><span style=\"font-weight: 400;\">Julie, por su parte, se ve enfrascada entre sostener esta relación conflictiva y encontrar su voz personal como directora de cine. En medio de conversaciones sobre Rivette y clases de montaje, la presencia de Anthony le obnubila la creatividad, pero a la vez agita cuestionamientos sobre sus privilegios de clase o su misma motivación para escribir y dirigir. Y aquí la complejidad de su relación, porque también la ausencia esporádica e incierta de Anthony, a veces por varios días, sumado a sus vagas andanzas laborales, atormenta a Julie de manera visible ante la mirada impotente de su madre y compañeros de facultad. </span></p>\n<p><span style=\"font-weight: 400;\">Ambientada en los años ‘80, Joanna Hogg evoca los recuerdos de sus años como estudiante de cine a través de imágenes brumosas que mezcla material de archivo con imágenes granuladas que remiten a las texturas nostálgicas del fílmico. En ocasiones, Julie observa fotografías de la ciudad, o edita en una moviola, como si la directora misma estuviera resguardándose en los ojos de su personaje para presenciar lo que en parte fue su historia personal. El film tiene un cierto aire de levedad no por lo que narra, sino por la matiz y la melancolía que configura la imagen y la iluminación suave y blanquecina que se filtra por las ventanas de donde habita la pareja, casi como un sueño donde el despertar recuerda la nitidez de la realidad y del presente. </span></p>\n<p><b><i>The Souvenir </i></b><span style=\"font-weight: 400;\">cautiva con los destellos fragmentados de la relación que se encadenan cronológicamente pero que no se adscriben a una lógica temporal precisa, y con una edición que ignora la continuidad; existen momentos dilatados que reposan la mirada sobre desayunos y almuerzos, o conversaciones distantes en largos pasillos, mientras otros sucesos que tienen lugar durante un lapso de tiempo indefinido, como una recaída y la posterior recuperación, se resuelven fugazmente en dos o tres escenas, pues para Hogg, la reminiscencia del pasado se encarga de realizar su propia edición. </span></p>\n<p><span style=\"font-weight: 400;\">Los espejos, que delimitan el punto de vista del espectador a la vez que sugieren cierto desprendimiento entre el reflejo y la imagen del reflejo, enfatizan la idea de contemplación reflexiva, quizás un intento por desentrañar esta relación particular y sufrida porque queda claro que lo que interesa a la directora no es explicar el por qué del actuar de sus personajes sino transitar las complicaciones del desamor.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=K8gkdmrR2MU\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=K8gkdmrR2MU\n</div></figure>\n<!-- /wp:core-embed/youtube -->','The Souvenir (2019)','','publish','open','open','','the-souvenir-2019','','','2020-02-19 12:16:42','2020-02-19 15:16:42','',0,'http://lapistoladechejov.com/?p=1099',0,'post','',0),(1100,2,'2020-02-01 09:44:59','2020-02-01 12:44:59','The Souvenir','the souvenir','','inherit','open','closed','','the-souvenir','','','2020-02-01 09:45:12','2020-02-01 12:45:12','',1099,'http://lapistoladechejov.com/wp-content/uploads/2020/02/the-souvenir.jpg',0,'attachment','image/jpeg',0),(1086,2,'2020-01-16 11:11:24','2020-01-16 14:11:24','El escandalo','El escandalo','','inherit','open','closed','','bombshell-2','','','2020-01-16 11:12:04','2020-01-16 14:12:04','',1085,'http://lapistoladechejov.com/wp-content/uploads/2020/01/bombshell-2.jpg',0,'attachment','image/jpeg',0),(1087,2,'2020-01-16 11:14:26','2020-01-16 14:14:26','<h2>El derrumbe de un magnate. </h2>\n<p><span style=\"font-weight: 400;\">El feminismo sesentayochista, interesado en teorías sobre el poder de la imagen, había denunciado la utilización del cuerpo de la mujer como un objeto, una mercancía sexualizada y explotada en función del rédito económico, sea en publicidad, en cine, en televisión o mismo en los absurdos concursos de belleza. Ya a más de 30 años de la divulgación de ensayos clave de autoras como Laura Mulvey o Annete Kuhn, poco ha cambiado y menos aún en el imperio estadounidense de los medios masivos de comunicación, donde la política se gesta en la sala de prensa. </span></p>\n<p><b><i>El escándalo</i></b><span style=\"font-weight: 400;\"> narra la caída de Roger Ailes, un hombre machista y xenófobo, quien a lo largo de su mandato en Fox News incrementó la audiencia con una fórmula que consistía en exhibir lo máximo posible el cuerpo de las mujeres en faldas cortas a la vez que alimentaba cualquier noticia controversial cargada de propaganda nacionalista y conservadora para un público de ultraderecha. Pero el famoso “plano pierna” de Ailes era solo la punta del iceberg, pues además del constante abuso verbal e insinuaciones denigrantes hacia las mujeres, a puertas cerradas, él acosaba sexualmente a sus empleadas.  </span></p>\n<p><span style=\"font-weight: 400;\">A través de personajes ficticios y reales, entre ellos la comentarista Gretchen Carlson quien fue la primera en denunciar a Ailes, y la periodista política Megyn Kelly, el relato revela las controversias internas de un imperio que cobijaba a ese hombre, mientras que el personaje de Kayla son nuestros ojos mediante lo cual vivimos el proceso de manipulación desde la llegada al canal con aspiraciones laborales ambiciosas a ser una víctima más. El techo de cristal de las mujeres en televisión, al menos en ese canal de televisión, era un favor sexual: acceder garantiza visibilidad, pero negarse significa no solamente la pérdida del trabajo, sino olvidar la posibilidad de cualquier otro puesto laboral como periodista. </span></p>\n<p><span style=\"font-weight: 400;\">Miradas a cámara dan voz a estas mujeres que sufrieron y siguen sufriendo el acoso laboral, y más que complicidad, esa ruptura de la cuarta pared coloca a ambas en un nivel de igualdad; la víctima fui yo, pero cualquiera pudo haber sido una víctima también, y que esto me haya pasado a mi, que esta situación sea mía, personal, evidencia que es la situación de muchas otras mujeres dentro de las estructuras políticas y sociales de dominación masculina. </span></p>\n<p><span style=\"font-weight: 400;\">Una de las secuencias más agonizantes es quizás el encuentro eventual entre Ailes y Kayla, predestinado desde el vamos, porque ya somos conscientes del carácter intocable de Ailes, de su modo de someter a las mujeres, pero ¿cómo esperar que no lo sea cuando el mismo presidente de los Estados Unidos se burla libremente con impunidad y protección de otras mujeres? Irrita observar cómo los medios masivos de comunicación controlan la opinión pública con senos y tacos altos en la pantalla, y comentarios degradantes sobre la menopausia, pero es más terrible aún cómo estos medios influyen en la política de los países más poderosos dentro de una rosca de poder de jerarquía masculina. Si bien es ridículo creer que la desvinculación de un pieza supone un cambio de mentalidad, al menos el derrumbe de un grande sumado a movimientos de visibilización de agresiones sexuales podría denunciar que la lucha del feminismo siempre irá más allá de la imagen que se percibe a simple vista. Que las películas sean la voz de quienes tuvieron miedo de hablar, y que al hacerlo alienten a otras que lo hagan.</span></p>\n<p>Ver tráiler:</p>\n\n<!-- wp:core-embed/youtube {\"url\":\"https://www.youtube.com/watch?v=DjH68re5iI4\",\"type\":\"video\",\"providerNameSlug\":\"youtube\",\"className\":\"wp-embed-aspect-16-9 wp-has-aspect-ratio\"} -->\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=DjH68re5iI4\n</div></figure>\n<!-- /wp:core-embed/youtube -->','El escándalo (2019)','','inherit','closed','closed','','1085-revision-v1','','','2020-01-16 11:14:26','2020-01-16 14:14:26','',1085,'http://lapistoladechejov.com/2020/01/16/1085-revision-v1/',0,'revision','',0),(1088,2,'2020-01-16 11:14:26','2020-01-16 14:14:26','<iframe title=\"El Escándalo- (Bombshell)- Trailer Oficial subtitulado\" width=\"1200\" height=\"675\" 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