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If we wanted to get exquisite, in addition to being Kantian, we would have no choice but to admit that what is real is not the current content of our representations, but what is determined by the formal conditions of possible experience. But you don't love yourself that much.
Reality is simply everything that stains.
And the cinema, determined to speak of the reality that surrounds it and hurts it, leaves, indelibly, a roll of fat.
Laurent Cantet
is clear about it and his work has lived in the dirt of society for years.
The class,
with which he won the Palme d'Or in 2008, is the best known, not necessarily the best, of the examples that illustrate his way of understanding this bastard art that is cinema.
Arthur Rambo
, his latest work, breathes the same craving for real. And, in his own way, the now veteran director set the tone for the day with this tape. Both the work of the Argentine director
Inés María Barrionuevo
Camila will be out tonight
and, above all, the prodigy
As in Heaven
, by the Danish
Tea Lindeburg
, made it clear, with or without Kant, that reality is there to stay. And stain.
'
Arthur Rambo
' tells of the rise and fall of an immediately successful writer (played with ease by
Rabah Nait Oufella
) who suddenly finds himself face to face with the wild and very despicable tweets he wrote under the sympathetic pseudonym of the title in honor, in a biunivocal way, to the wild poet of the XIX and the no less stubborn boxer of the XX. The film shines not so much for its originality when it comes to dealing with the issues it raises (that if the identity in social networks, that if the provocation, that if the limits of fun, that if the sense of irony, that if the irony of meaning, that if the cancellation, that that if yes, that that if not) how, and this is what is relevant, the agility, certainty and transparency with which it faces the world we step on.
Cantet manages to illustrate as few times before each of the contradictions that hide behind the apparent innocence of a mobile screen. What matters is not so much the conclusion or the answers served as the ability of the film to confront reality, be confused with it and, finally,
stain the viewer's retinas.
It counts the fever, it counts the fetid breath of each one of the doubts, it counts the real thing. The camera moves between the bodies with the same lightness that it does between the tiny screens full of emoticons and nonsense until it reaches the limit of the real thing. The real, we have arrived, is only the unreal. And so. Shiny.
The director Laurent Cantet poses with the actor Rabah Nait Oufella after presenting his film 'Arthur Rambo'Juan HerreroEFE
The accidents of the heteropatriarchy
And then there is that hard, ugly and sticky thing that time has come to call in a somewhat orthopedic heteropatriarchy and that, like so many other cancerous protrusions of reality, is just injustice disguised as normality.
And here in the
first place, the shining work of the debutante
Tea Lindeburg
in
As in Heaven
(
and in heaven
).
The Danish director travels at the end of the 19th century to tell the story of a young woman (played by
Flora Ofelia Hofman Lindahl)
the exact day that will change your life forever. Convinced and prepared to be something different from what it is supposed to be according to tradition, religion, good customs and the heteropatriarchy of before, the bad birth of her mother will change everything. And not for the better.
The director runs away from proclamations to focus on what happens inside her protagonist. The film runs, in this way, on the surface, sensual and electrified by a staging as calculated as it is intimate. On one side that effort to impress with each shot (first-time things and Malick's bad influence), what remains is a subtle and deeply aggressive story at the same time; a film that lives directly (rather than just recreating) within an ordered world that suddenly vanishes.
The result is a film slightly diseased with its imperfections, but live for, again, real.
And that, believe me, you see very little.
Finally, in keeping with a full and very realistic day,
Inés María Barrionuevo
continues in
Camila tonight
her more than solid and somewhat less than complacent work that began in 2004 with
Atlántida
. The filmography ordered in four Barrionuevo films revolves around determined women who are self-possessed and also owners of each of their doubts. They are women who live and swim against the current.
It is an elliptical and rocky cinema that moves determined between climates, sensations and moods.
Now the story is told of a young woman (
Nina Dziembrowski
) who is forced to move to Buenos Aires mid-year following the inheritance, debts and losses of a dying grandmother. Barrionuevo manages to compose a portrait of three generations of women without hardly moving from the protagonist's face. Despite a clumsy ending with moral manners,
Camila ...
works with an unusual clarity for each of the shadows she announces.
It is combative cinema because it is extremely truthful; It is cinema, and there are three, real.
One would even say that it is even anti-Kantian cinema, for which reason it exercises itself in contradicting the formal and highly heteropatriarchal conditions of possible experience. That is, the reality is changed. We have arrived.
According to the criteria of The Trust Project
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