30 oct 2009

Evocando San Sebastián (I)

Recuperándome de mi hiato creativo, por fin, y con imperdonable retraso, este blog conocerá las reseñas de las catorce películas que sufrí y/o disfruté en el Festival de San Sebastián.

No hubo manera de acceder al wi-fi del lugar donde me hospedé. Ha pasado mucho tiempo desde la atroz ingesta de 26 horas de cine en 72 horas de vida, pero precisamente gracias a eso he podido reflexionar serenamente acerca de cada película, algo imposible en medio de la ebriedad (literal y figurada) festivalera.
El viernes por la noche, tras una cena atropellada y una carrera para poder recoger las entradas en algún Kutxa, llegamos a la película de Arnaud Desplechin, Reyes y Reina (2004), treinta segundos antes de que arrancara la sesión. Tras ésta, lamentamos que algún resbalón con dislocación ósea o esguince nos salvara del tormento mental que supuso la visualización de esa dilatada parida. 150 minutazos de un filme estructurado, en principio, en capítulos bien delimitados, que acaban perdiendo el rumbo y cambiando de tono, tema y -¡horror!- de punto de vista de la forma más caprichosa que un servidor haya visto en mucho tiempo. Porque es una larguísima letanía de frases sarcásticas y pretendidamente inteligentes sobre la familia y la pareja, con ínclita vocación de destroyer por parte de un director que no sabe construir un drama, sino que presenta un caótico mural en el que personajes entran y salen sin concierto, en el que nos tenemos que creer las cosas porque el guión las dice, en la que de un minuto a otro se introducen elementos sin ninguna cohesión con lo anteriormente visto y escuchado, con la intención única de darle un giro más sórdido al asunto. Y sí, Desplechin presume de armas letales cargadísimas de mala leche, pero no hay nada más que verborrea en este mareante camarote de los hermanos Marx.

Amanecimos el sábado con Wo de tang (2009), que "reseñé" para Miradas de Cine, y de cuyo enlace dispondreis más abajo.

Tras sufrir el bodrio chino, llegó el esperado filme de François Ozon, habitual en certámenes internacionales. Le Refuge (2009) va de una niña bien heroinómana que pierde a su novio en una sobredosis y se enamora del hermano homosexual de este. No, no es broma. En oposición a la sórdida sinópsis, nos encontramos con un drama delicado, contenido, bien hechito, con encuadres milimétricos e interpretaciones sobrias y notables. Una estructuración muy medida y pensada traza dos parábolas que se tocan. El remate es especialmente emotivo. Bonita pero leve, sin ser de lo mejor, por fin empezamos a concebir que se podía ver buen cine en el Festival. Como curiosidad: durante una de las escenas con aguja y colocón, un hombre se desmayó en la sala. Lo último de Suwa y del también actor Hippolyte Girardot, recién llegado de Cannes, donde, aseguran, fue ovacionada, que es lo mismo que decir nada. Yuki & Nina (2009) son hora y media de niñas diciendo cosas de niñas, haciendo cosas de niñas, preguntando cosas de niñas, y eso. Ya está. El pretendido naturalismo en el acercamiento al universo infantil está más cerca de un reportaje televisivo que de François Truffaut. Nada ocurre, ni por dentro ni por fuera, excepto durante los únicos 10 minutos de cine de toda la película, donde sin aspavientos y con irreparable suavidad se quiebran las fronteras del tiempo y del espacio. El resto no tiene sal ni azúcar, y la conclusión chorrea obviedad. No, no me esperaba esto de Nobuhiro.

Llegó Chloe (2009), y adelanto que me pareció un Egoyan sólo domado en la forma, pero con un fondo perturbador, capaz de dejar poso. También escribí sobre ella para Miradas.

Las nueve de la noche. Llegó Whatever Works (2009). Llegó Larry David. Llegó Woody Allen. Reciclando elementos de sus años dorados neoyorkinos, se constituye como un delicioso remix, brillantemente perpetrado (a base de diálogos afilados, plenos de malabares semánticos y conceptuales, de agudas réplicas y maliciosas contrarréplicas), no deja moro, cristiano ni judío con cabeza. Abandoné la sala feliz y convencido.

Pero después del pesimismo vitalista y del humor desinhibido de Allen, tocó Precious (2009), cuya hiperbólica sinopsis nos lleva hasta Harlem, donde una chica de dieciseis años, con un hijo retrasado mental, se queda embarazada por segunda vez de su propio padre y no encuentra refugio ni en casa (donde le espera una madre ladradora y mordedora) ni en el instituto (donde es agredida verbal y físicamente por sus compañeros). Y aún así, Lee Daniels se las arregla para provocar hilaridad con las ensoñaciones de la protagonista, en una película emotiva y, valga la redundancia, preciosa. Y si el argumento parece la parodia del tópico dramón oscarizable fabricado en serie, nada más lejos: un drama sórdido, sí, pero más sugerente que explícito, cuidadosamente construido en fondo y forma (donde la reiteración temática es aparente y cada secuencia aporta un nuevo dato que nos acerca o distancia más de los personajes), con hallazgos realmente sorprendentes en la puesta en escena, como aquella inmersión de la protagonista y su madre en una película neorrealista. No rompe moldes pero la elaboración milimétrica del guión, pleno de naturalidad y costumbrismo (auténticos, nada que ver con la de Suwa-Girardot) y el portentoso trabajo de la protagonista hacen que la identificación con esa chica obesa que se tambalea con sus dramas en silencio sea directa, inmediata y absoluta. Cine testimonial de mucha altura, que no permite que la calidad cinematográfica resbale de entre las jabonosas manos de las buenas intenciones.

CONTINUARÁ

Críticas en Miradas de Wo de Tang, Chloe y This is love.

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