Club del Cine Coteautri

Bienvenidos al Club del Cine Coteautri

January 27th, 2007

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“VINE HICE MI DESMADRE Y ME FUI”

January 24th, 2007

El Mago en la muestra de cine latinoamericano

Por: Ada Zapata Arriarán

La V Muestra de Cine Latinoamericano nos trae el film El Mago, del director mejicano Jaime Aparicio, una película que no pasa desapercibida a través de vivos colores que contrastan con el blanco y negro de las fotografías, protagonistas reveladoras de la trama.La lúcida fotografía de Diego Arismendi y la fascinación que confiesa Aparicio por las fotos antiguas, que disparan la mente a revivir una escena completa, nos sume sencillamente en una poética de la imagen, y como menciona el propio director, en un particular homenaje al cine de los años setenta y ochenta.La cinta, ligera y amena, logra en algún momento y sin grandes pretensiones, hacer olvidar que nos encontramos ante una película para internarnos en el espacio que propone la ficción, un leve guiño que festeja serenamente el pasado y no fuerza la superficie del relato.Se trata, con algunas caídas, de un leve viaje en la mirada para “detener el tiempo y acercar a las personas”, un esfuerzo que acompaña a Tadeo (Erardo Gonzáles), mago callejero y antiguo fotógrafo de vedettes, que al enterarse de su enfermedad terminal, decide ajustar cuentas con los seres del pasado: un amigo muerto apodado El tigre y Raquel, el amor y la mujer desaprovechada, interpretada por Julissa, una reconocida actriz que vuelve a las pantallas. Con un tono de barriada, una dosis de grotesco y el encantador erotismo de algunas escenas, El Mago nos aproxima al orbe callejero de mendigos, traficantes, drogadictos y prostitutas donde anida la marginalidad. También nos acerca al espectáculo popular, en romance con la muerte de una época, donde se descubren de reojo los cabarets, conventillos y colonias viejas de la capital de Méjico. Así como Tadeo logra atrapar con su cámara el instante de la muerte de su mejor amigo El tigre, El Mago también se transforma bella e inesperadamente en otra imagen, una ofrenda a la actuación de Gustavo Muñoz que caracteriza a Félix, el asistente invidente del mago. Personaje que simplemente roba pantalla confiriendo vitalidad y goce a todo el film. El actor falleció el 2004 antes de exhibirse la película. Recordando a Gustavo y sus propios rasgos autobiográficos (la muerte de su padre), el director resalta como preferida la escena en que ambos amigos se despiden y espectan su cercanía con la muerte, “la carnalita”. No es otra la figura que identifica el devenir de ambos personajes “Vine hice mi desmadre y me fui”.Aunque se trastocan los límites de la realidad previsible, Jaime Aparicio indica que el film no pertenece al género del realismo mágico, una película expresa simplemente lo que intenta decir. La magia y la realidad no están separadas, “la verdadera magia esta en el espectador”, en el deseo de ser sorprendido, de ver y no ver, dice Tadeo suspendiendo a Morgana, la joven peluquera de su vecindario, en el aire; o intercambiando identidades con el cuerpo muerto de Félix, un último acto de desaparición, el acto de su muerte, para vengar la muerte del amigo. La ambigüedad de la última parte genera un final abierto donde se plantean tres posibilidades para el director: Tadeo esta muerto, o esta vivo y vive rodeado de sus fantasmas, o encuentra su ultima parada en la tierra frente al mar. Así ambos protagonistas Tadeo y Félix asisten a Pie de

la Cuesta donde acuden otros fantasmas festejando el reencuentro y el escape a otra vida. Este, o tal vez otro para el espectador, será el final libre de una película llana, agradable y humana.

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SAYARIY EN LA V MUESTRA DE CINE LATINOAMERICANO

January 24th, 2007

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PAELLA CON AJI EN LA V MUESTRA DE CINE LATINOAMERICANO

January 24th, 2007

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“MI NOMBRE ES MADEINUSA”

January 24th, 2007

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SER COLOMBIANO, UN ACTO DE FE

January 24th, 2007

Por: Ada Zapata Arriarán

Carlos Fernández de Soto, realiza la película en el 2004. Se trata de un film efectista que logra sacar más de una risa por una dosis de comedia y un amago de lágrima apelando al melodrama. El film profesionalmente narrado consigue un efecto de sentido a través de sentimientos familiares, para descubrir el verdadero conflicto de un país. Este también es el escenario de nuestros países latinoamericanos fuertemente influenciados por la estética de la telenovela y el didactismo.

Así se logra una interesante metáfora; describiendo la conmoción del fenómeno emigratorio en Colombia a través de la figura abortiva de una joven embarazada. Sara quita la vida de su madre enferma de cáncer y se decide a dar una nueva vida. Por esta imagen Colombia se transforma en el vientre materno en donde surge el inquietante escenario de la expulsión y la decisión de partir, o quedarse y resistir en un país casi desahuciado por la violencia.

Colombia es el segundo país con mayor índice de emigración en el mundo. Así la película retrata la lucha de una familia de clase media en momentos en que la población urbana era golpeada por una fuerte crisis económica; en una atmósfera de atracos, bombas y secuestros, donde además se producía el dramático desplazamiento forzado del campo al interior del país. Recordemos al anciano que deambula por el hospital y no puede volver al campo después del asesinato de sus hijos, o las conversaciones de la familia de Sara idealizando irónicamente la huida al Canadá. El esposo de Sara se quedará sólo si ella decide tener al niño. En una de las escenas mejor logradas por su imprevisibilidad, Sara conversa con su hijo y lo convence de nacer. Llena de buenas intenciones, cuestionamientos y lugares comunes, el film agrada por una ingeniosa escena final.

En la actualidad una nueva ley del cine impulsa la filmografía colombiana, en los últimos dos años se ha estrenado un promedio de ocho películas y el publico esta respondiendo favorablemente con la entrada de taquilla. Con mucho acierto el director Carlos Fernández nos dice citando al artista Jaime Espinal que cada esfuerzo cinematográfico permite crear retratos, escapar al desenfadado olvido y recordar momentos de la historia en los cuales nos reconocemos. Cada película es una foto del álbum familiar del país. La muestra más banal, en el cine Colombiano y en el escenario latinoamericano, proporciona una foto faltante.

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25 WATTS EN LA V MUESTRA DE CINE LATINOAMERICANO

January 24th, 2007

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Club del Cine Coteautri

Bienvenidos al Club del Cine Coteautri

“VINE HICE MI DESMADRE Y ME FUI”

SAYARIY EN LA V MUESTRA DE CINE LATINOAMERICANO

PAELLA CON AJI EN LA V MUESTRA DE CINE LATINOAMERICANO

“MI NOMBRE ES MADEINUSA”

SER COLOMBIANO, UN ACTO DE FE

25 WATTS EN LA V MUESTRA DE CINE LATINOAMERICANO

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