Blood, celluloid and bites, the eternal myth of the vampire kicks off the year at the Cineteca

• Exhibition The eternal resurrection of vampires: "A crisis or an epidemic has been enough for them to reappear"

Few forms of expression identify so completely with the vampiric myth as the cinema itself.

And we are not referring to the insistence with which the invention of the Lumière has recreated the exploits of the bloodsucker, which also, as its very essence.

Movie stars do not age and the cameras that record the artifice of filmed life are never reflected in mirrors.

The bite - childish metonymy of intercourse - with which the vampire appropriates the will of his victim possesses the same power as that of the screen, which, with its hypnotic capacity, appropriates the spectator.

And here, without a doubt, the most obvious and perhaps hidden of the classics of Spanish cinema.

Arrebato, by Iván Zulueta, was about heroin, vampirism and, above all and above all other considerations, cinema.

We have arrived.

Well then, it is well that the Cineteca in the new stage inaugurated by

starts with a cycle that goes by the name of

and that it is nothing more than the best excuse to surrender to the cinema in each and every one of its corners. And from his ever-bleeding wounds. "The idea", reasons the newcomer director, "is that each month revolves around an argument that may well be current and taken from the circumstances or ... quite the opposite." In this case, the circumstance from which to extract an impeccable program (or very sinful, depending on how you look at it) is precisely the re-release of a restored version of the aforementioned film and that so profoundly marked the drift of all Spanish independent cinema until even our days (just look at Marc Ferrer's work). "It is a unique opportunity to see the film on the big screen and probably like few times before. And I'm talking both about the quality of the projection and the context in which it will be seen ”.

Now for the context. First, the premieres. And there are two of the most hidden surprises of the year that ended and that, things of fate, were about vampiric things. In the first place, the Spanish film

, by the aforementioned Ferrer, who draws a line that is more than evident with Zulueta's work, both in form and in sense and in a disruptive will. And next to him, the unclassifiable German film

by Julien Randlmaier. The movie is comedy. Of course, it does not renounce terror or much more obvious social criticism. Indeed, few monsters define capitalism so well that it so neatly dissected the Karl referred to in the title as the vampire. The Count of Darkness is the most evident and clear representative of that individualism that subjugates us and with which consumption is so closely related. He (the entire system) directly vampirizes the resources of society for his own pleasure. He is nothing more than the complete metaphor of neoliberalism that sucks the energies accumulated by the community effort of society. And all this for the hedonistic and happy benefit of a few to whom we all show our necks, because we all aspire to be like them. And so. It's dramatic but, looked at from a distance,it is also pure farce. Comedy therefore.

"But if something characterizes the vampire, it is that he absorbs the energy of the others," Parés points out to enter the next block. The cinema is more than any other art a bastard job that sucks what it can and wants from everything around it. That is why a section dedicated to unveiling and confronting films that are quoted, copied, subtracted the juice from each other and, if necessary, copulate with each other is so timely. And so Santiago Fillol turns his

(2010) into a recreation that is also a rereading of

by Nicolas Klotz and Elisabeth Perceval. And so the duo formed by Vicente Vázquez and Usue Arrieta who call themselves Weareqq shamelessly reconfigure the ideology of their own and always untouchable Godard. The works of the filmmakers David Domingo, Carmen Haro and Miguel Rodríguez complete this sub-cycle within the cycle that is also vampirization within the vampiric rigor.

To highlight the movie

of the last two mentioned. Haro and Rodríguez subjected their retinas and meninges to a peculiar experiment: watching the movie Big, starring Tom Hanks in 1988, 30 times in a row and without rest. It has already been said, films that suck from others. What emerges is hypnotic in the despair of spectators obsessed and overwhelmed by the disproportion of their completely useless endeavor. And it is there, when the vampire, by dint of losing his very essence, approaches the realm and kingdom of the zombie. But that is another story.

Vampirisms progresses the month by giving away modern classics from

And along the way, a new subsection (how many are there already?) That calls itself

surprises with a miracle that is also an exercise of justice. Seeing on the rigorously large screen the

saga

of the essential, unclassifiable and unforgettable Antonio Gracia José - better known as Pierrot - is definitely a task that corresponds to a responsible Cinematheque. Welcome to it.

This is how things are, and if there are doubts, nothing like going to listen to

author of

(Arpa Editores).

He knows everything and explains everything.

"We are looking for a curious cross-sectional audience and not necessarily just cinephiles", concludes Parés.

And we believe you.

Love at the first bite.

According to the criteria of The Trust Project

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