It is the waves that make the sea look. And, even more radically, the ocean is only ocean when they protest and rebel against their immense blue monotony. With this lyrical and maritime conviction, Juan Solanas set out to tour the streets of his country, Argentina, as soon as 2018 began the processing of the first abortion law. To place ourselves, the framework of the green wave (which is law), so called the documentary that premieres next Friday, is the story of the frustrated attempt that the Senate approved the law that had already been ratified in Congress. But beyond the statistical and historical rigor of that sea in the background, what counts, it has already been said, are the waves. For two months, and especially at the gates themselves, the avenues of an entire country were literally moved, rose and finally broke against all asphalt asphalts. And against the walls of the Upper House. Never before has the feminist movement of probably no country in the world shaken off complexes to receive what was meant to be a historic victory. It wasn't like that, but the wave still roars.
“It was not achieved, but with the new presidency, there is a green congressman majority (because of the color of the protest) and the votes among the senators have increased. The chronicle of the film, despite what it may seem at first, is not that of a defeat, but that of a victory in progress, ”says the director from a quiet conviction, with his eyes open. It is not hidden to anyone that, despite the respect with which the contrary opinions are collected, this is a film in favor of the cause and thought from the first moment for the celebration and even the fury. And it is there, in the revolt, in the tumult on, where the documentary is strong. It is about capturing the fever of the streets and doing so from the vibration of the obvious. Rarely a feminist movement, or only popular, was more active, more creative and exhibited, with so much convincing power.
«There is something that unites the protest of the mothers of the Plaza de Mayo on a silent war footing for their missing children and that of their granddaughters determined to end the horrors left by the clandestinity of abortion. The first wear a white handkerchief and the last, make it green, ”says Solanas. The film is structured in four large blocks. On the one hand, pieces of the debate in Parliament that lasted beyond 24 hours in a row; at his side, and in parallel, different generations of feminists are modeling the sense of anger that is also convincing; on the other, the fervor, and, lastly, the testimonies of horror.
For the latter, the story of Ana María Acevedo, who had 19 years and three children when she was diagnosed with cancer, is made known. Doctors denied him rigorous chemotherapy as soon as it was discovered that she was pregnant again. An ethical committee composed of health personnel and representatives of the Catholic Church ruled in favor of the fetus . The decision ended the life of the two. The mother, Norma, appears and claims justice. At another time, the story is told of a woman who, after showing up at a hospital suffering from hemorrhages, was charged, arrested and sentenced to seven years in prison. All this for what was demonstrated that it was a spontaneous abortion.
There are only two cases among a thousand that the son of also the filmmaker Fernando E. Solanas and author of the mythical documentary The hour of the furnaces uses as a very violent illustration. The film, in clear homage to the parent's tape, uses texts that come out of nowhere with immense typography. From them we know that only 2% of land titles in Argentina are in the name of women. And it is there, in these data, that the claim is sewn that goes far beyond the enormity of the law that is not yet.
"Lifelong," the director reasons, "a militia in equality and that unites me to feminism. I consider myself a political animal and if I make films it is to try to change things ». The filmography of which he speaks, however, runs apart from what can be considered a militant cinema in the strict sense. Although Nordeste , his first feature film, did approach an obvious concern for the wounds of misery, A love between two worlds, with Jim Sturgess and Kirsten Dunst, moved between the fantastic, the exacerbated lyricism and the simplest and obvious madness. "My gods are Fellini and Tarkovski and my conviction is that poetry is only valid if the world changes," he says by way of footnote. And we believe him.
Anyway, now there is no more lyrical than the one that burns. Although the tape prefers and is forced to stay in the tide (all scenes stolen from the edge of the sidewalk seem indisputable), it does not want to stop probing the sea, the one at the bottom. And there that appears the many times named patriarchy as a requirement and enemy. «Beyond the immediate pain caused by the illegality of abortion, there is the scheme, the structure of thought, which is imposed on the body of women. Patriarchy is a violent way of exercising power, ”he says, stops and recalls:“ When we presented the film in Cannes, a woman told me what had happened to her in France in the 70s. When she went to the hospital for a complication after abortion, they refused to anesthetize her. He was told to suffer now as he had not thought about the consequences when he had enjoyed. That is what a woman tells in the movie. The history of domination and power is the same in the France of the past and in Argentina now ».
Solanas says that, despite everything, the impact of the presentation of the film in the Croisette last May was enormous. How huge were the reactions in his country when it was released in the middle of the presidential campaign. "It forced the candidates to pronounce themselves," he says. He also hopes that the wave will continue: «Only in Uruguay and Cuba, abortion is legal in Latin America. In many countries, in addition, not only is it not legal but it is a complete anathema.
Probably (or for sure) the movie does not serve to change any opinion. Solanas knows it, although in his internal jurisdiction he wishes the doubt since Argentina has to vote again. The opinions of those who are against it, that there are, are collected with due rigor and discretion. But always without hiding the starting position. What ultimately counts is the forcefulness of the wave. And behind her or, precisely because of her, the sea.
According to the criteria of The Trust Project
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