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When

Samanta Schweblin,

author of the novel 'Distancia de salvage', had to talk about her influences, among the most notable names of the "fantastic River Plate," she quoted

Julio Cortázar

and

Felisberto Hernández.

And when Cortázar saw fit to write about Felisberto Hernández, he said that his writing enriches reality, because in his literature the real "not only contains what is verifiable but supports it on

the back of the mystery."

And it does so in the same way, he continued, that the elephant underpins the world in the Hindu cosmogony. Let's say that what matters is both the spine and the mystery; the sacred back of the pachyderms and its enormous enigma.

Claudia Llosa

adapts Schweblin's text, translated into as many languages ​​as she has received praise and awards, and makes it faithful not so much to the letter as to what is hidden behind it; that is to say, very aware of the teachings of Filisberto which are also those of Cortázar and, incidentally, those of Schweblin. Let's say that the author of

'The scared tit', a

film that won the Golden Bear in Berlin in 2009, succeeds in reproducing the same voice that poisons the novel

of hidden meanings, indecipherable resonances and warnings of invisible dangers

until it soaks the screen of a rare and magnetic dark breath. And all this written on, precisely, that same back of the mystery that Cortázar described in Filisberto and that Schweblin made his own. We have arrived.

The entire film is narrated by a dying mother. In the distance, amid the mist of a fading memory, the story of her daughter emerges, which is also the story of a universal fear that spreads like a dark stain across the surface of the planet; of all possible planets. A woman

(María Valverde)

comes to a small town with the intention of spending the holidays with her little girl. She lives happily and scared in her motherhood, always aware of the rescue distance, always attentive to the time and space she needs to react to any threat to her baby. There he meets a neighbor

(superb Dolores Fonzi)

who will open the doors of a murky enigma, the back of the mystery we were saying.

Let's say that Llosa's staging or writing, stubborn with what vibrates behind the image, adapts perfectly to the nature of a story that always moves a few steps away from all precipices. With the lyrical excesses of her previous work

('Don't cry, fly')

under control, the director now builds a sensation, a fear, rather than just a story.

The camera moves to the rhythm of a constant voice that breathes on the screen like a threat would.

It doesn't matter which one. It is about drawing lines between the fear that a mother always faces in the worst case scenario for her son and a huge fear that permeates everything since we all appeal.

The film, it is true, ends up being afraid even of itself, of the fractured narrative it proposes.

And the director,

in a somewhat ugly gesture,

does not hesitate to make use of some very prosaic 'flash-backs' that stain the delicate chaos of the entire film, all of it placed on, it has already been said, the spine of mystery.

With Cortázar.

With Filisberto.

With Schweblin.

With Llosa.

A DEBUT FOR DISSIDENCE

For the rest, and in that uninterrupted succession offered by a San Sebastián full of films directed against the obvious and directed by women, the official section surprised with the irreproachable debut of the Romanian

Alina Grigore

in '

Blue moon

' (

Blue moon

) and overwhelmed (not necessarily positive) with

'I Want to Talk About Duras'

, the risky and merciless new work by

Claire Simon.

Of the first, the highlight is his strong nonconformist will. It is not that he revolts against anything in particular. On the contrary, his thing is to go against everything and without the slightest regard. Grigore tells the adventure of a doomed woman.

Ioana Chitu plays

a student determined to flee her village towards the capital, Bucharest. His family objects. And condemns it. On this simple budget, the director composes a very shady coven on the degradation to which all monsters are summoned:

from rape to abuse going through something similar to incest.

The idea is to turn the surface of the screen into the closest thing to a nightmare. It is not so much a psychological portrait, but also, as an apocalyptic journey to the bottom of the fury. Suddenly,

the cinema is also there to provoke, disturb, scratch the retinas.

Without a doubt, the most visceral and violent premiere in the direction since the eruption of Vesuvius. Or the volcano of La Palma, it doesn't matter.

Beside him, the veteran and accomplished documentary filmmaker Claire Simon proposes to transcribe the book

'Je voudrais parler de Duras'

, by

Yann Andréa

,

to the screen

.

And his way of doing it is, basically, reading it word for word under the neat recitation of actor

Swann Arlaud.

That's

'I Want to Talk About Duras'

. The passion that united the writer with her last lover thus becomes the chronicle of an interview in which the protagonist reels contradictions (he was homosexual), contempt, possessions, pleasures and, most importantly, an infinite love in its purity immeasurable.

The way to deliver pure what does not obey anything other than its immaculate essence is a staging that does everything possible to disappear.

The man who met the writer and filmmaker when he was 28 years old and she was 65 and who lived together from 1980 until her death in 1996 more than just undressing, he rips his skin off in the text and Simon rehearses something similar in his film .

What remains is an exercise in cinema convinced of its rigor as transparent and magnetic as, indeed, inclement

with nothing other than militancy.

Three women, therefore, three ways of discussing the world.

Shiny.

According to the criteria of The Trust Project

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