Ampliar la mirada

“Alamar” (2009), Pedro González-Rubio, Mantarraya / Xkalakarma (fotograma)

CARLOS ALBERTO RIVERA OLMOS |

El discurso es el de siempre pero no se agota: el cine mexicano, encasillado en temáticas de miseria y violencia, es de mala calidad. ¿Quién quiere pagar un boleto para ver una película deprimente?

Los cuerpos que piensan de esa forma, por lo general, poseen miradas sitiadas, estrechas. La contradicción es su continuo. Desechan categóricamente lo que para ellos representa una constante sórdida en la pantalla, pero se muestran benévolos ante fotogramas acostumbrados al artificio y la banalidad. Sus pupilas son adictas a la evasión, a la historia digerible con final feliz; no hay espacio en ellas para el plano estético, para la secuencia que desafía al pensamiento.

La mirada tiene el derecho de expandirse, de alimentarse con narraciones poéticas, de sumergirse en la duda y en el planteamiento filosófico; la mirada posee el derecho a soñar plenamente, a llenarse de revoluciones, a concebir a la vida como una opción infinita y no como un cerco concluyente. Para una gran parte del público mexicano (ya sea por falta de información o por las condiciones de desventaja que circundan a las películas nacionales en lo que respecta a la distribución y exhibición cinematográfica), su mirada debe conformarse con las imágenes producidas en serie por la maquinaria de Hollywood.

Se pierde mucho al dificultarle a la audiencia de México apreciar las distintas posturas sobre la existencia, plasmadas en las producciones de los cineastas mexicanos. Muchas de ellas son creaciones sensibles, críticas, honestas, que apelan al desarrollo positivo de los individuos y de la sociedad.

Con escasa publicidad y nulo espacio para su exhibición comercial, las cintas mexicanas independientes, han obtenido un sinfín de reconocimientos en festivales internacionales; han cimbrado conciencias (las de los espectadores que tuvieron la oportunidad de verlas); han inspirado reflexiones; han contribuido en el progreso del espíritu crítico; han promovido la acción social…

Basta con recordar filmes como Mi vida adentro (2007) de Lucía Gajá, La Zona (2007) de Rodrigo Plá, o Los herederos (2008) de Eugenio Polgovsky para no perder de vista que en nuestro país la igualdad entre todos sus habitantes aún es un asunto pendiente.

Basta con regresar a la memoria trabajos como Los que se quedan (Juan Carlos Rulfo y Carlos Hagerman, 2008), Alamar (Pedro González-Rubio, 2009), o Vuelve a la vida (Carlos Hagerman, 2010), para que el cuerpo se ilumine con los colores cálidos de un México alegre, apacible.

Basta con impulsar el recuerdo de Los últimos cristeros (2011) dirigida por Matías Meyer, o de ABC, nunca más (2012) de Pedro Ultreras, para no renunciar a la búsqueda de la justicia, para no sucumbir ante la impunidad.

Ampliar la mirada permitiéndole conocer nuevos rostros, nuevos cielos, nuevas propuestas artísticas, conlleva a la experiencia de la libertad. Acercarse a las películas mexicanas (las propositivas, las realizadas con las entrañas, las que ofrecen sensaciones distintas), y en general al cine que da prioridad a la expresión veraz antes que al tema monetario, significa alistar la mirada para aprender a volar.

De usted depende la determinación.

| RMM | CARO | @Lavidaescine |

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