Noche de Fuego y The Power of the Dog: Semejanzas disímiles en Jane Campion y Tatiana Huezo
Abstract
A fines del año 2021, vi en Netflix, una tras otra, Noche de Fuego (Prayers for the Stolen) de Tatiana Huezo y The Power of the Dog (El poder del perro), de Jane Campion. La excelencia fílmica de ambas las hace merecedoras del Oscar 2022, por la mejor película en dos categorías diferentes. La película de Campion ya ha sido nominada en un sin número de categorías y creo que se las llevará todas. La de Huezo desafortunadamente no. Estos films se sienten iguales, sabiéndose diferentes, en eso que Carolina Urrutia llama cine centrífugo.
Tratándose de estas películas, la idea necesita ajustes, sin duda, pero abre la puerta al sentido de la semejanza disímil que se observa en ellos, films sensoriales que apelan enérgicamente a los sentidos y cautivan por ese “sentido obtuso” que Didi-Huberman examina a morir en el trabajo de Roland Barthes sobre el Acorazado Potemkin de Sergei Eisenstein. Sentido obtuso es aquel que no está estructuralmente situado: es un significante sin significado ni representación: no copia nada, no está en la lengua, no puede compartirse—vacío pleno en los estudiosos del cine de Andrey Tarkovsky. Obtuso es la sorpresa de lo inesperado, la indeterminación exacta de la interpretación que des enfatiza la perplejidad del desenlace. En este sentido, es un cine de rechazo al cine de tesis, más apegado a la imagen-tiempo de Gilles Deleuze, favorecedor de una diégesis errática, con omisión de datos contextuales, crítica a la teoría del conflicto central y la demanda identitaria y política—pero no del todo. Por ello, en ambos films cautiva, en primer término, ya dije, un paisaje que devora, una obstinación sonora, y la sagacidad enigmática de la mirada y del oído. Eso justamente, argumento, establece la paridad en los principios constructores de ambos films. Oscurecer la historia, esquivar el referente, constituye el suspenso que agrava la pesadez de una diégesis evadida, anomizada e indirecta, que mantiene en vilo la sucesión de las imágenes, dejándose seducir uno por ellas y manteniendo viva, no obstante, la ansiedad de la historia contada. Terminado el film, diría yo, el espectador queda en estado de estupor al tratar de explicarse lo que ya sabe y sin embargo no del todo, aquello intuido apenas en un clímax no especificado, asustado por que entiende no entiende a la vez una historia subsumida y subordinada a los elementos cinematográficos.
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