Cine mexicano en la pantalla grande

somos-lo-que-hay-2

Por Omar Arriaga

Con motivo de las fiestas patrias, acaban de estrenarse en las salas de la ciudad dos viejas conocidas del nuevo cine mexicano: El baile de San Juan, de Francisco Athié, y Somos lo que hay, de Jorge Mitchel. Estas películas fueron presentadas durante 2010 en los festivales de cine de Morelia y Guanajuato respectivamente. Ambos filmes ostentan una visión contrapuesta pero complementaria del país en el que vivimos.

Por un lado, El baile de San Juan, tercera producción de Francisco Athié (Lolo, 1992; Fibra óptica, 1996), ambientada en la época colonial, sumerge al espectador en los inicios de México al narrar la historia de Giovanni Marani, un joven actor de la Nueva España, hijo de padre italiano y madre indígena que, en busca de una carrera en los escenarios teatrales de la corte, y desconociendo su origen, se verá inmerso en un dilema existencial por formar parte de aquello que antes le provocase aversión: el mestizaje.

Extraña suerte de tragedia griega en la que al protagonista se le cae la máscara para descubrir su propio rostro ante el espejo, pero con un final en el que se lo sublima en vez de destruírselo. El baile de San Juan es una puesta en escena –construida por más de ocho años y soportada rigurosamente desde lo histórico– acerca de los mecanismos más entrañables que determinaron el auge y la decadencia de la sociedad novohispana para dar paso al establecimiento del nuevo país.

El otro filme, Somos lo que hay, ópera prima de Jorge Mitchel Grau que fue ganadora del galardón a Mejor Largometraje del Festival Internacional de Cine de Guanajuato 2010, es una novela negra cuyos protagonistas son miembros de una familia del Distrito Federal que, mediante sacrificios rituales, logran sobrevivir en el día a día de la capital. Metáfora siniestra del México en el que nos hallamos sumergidos actualmente, incestuosa antropofagia que ilustra la forma de vida a la que se ha llegado.

Si al comienzo la película parece Principio y fin, el dramononón de Arturo Ripstein, espere, querido espectador, porque al final uno ya quiere un dramamine para el mareo… Así de sangrienta y barroca es esta farsa. Y nada de Hannibal Lecter ni de Silencio de los corderos o Dragón rojo: Mitchel nos recuerda que el organismo antropófago es una familia, médula de la sociedad, no un personaje perturbado de filme hollywoodense. Alusiones al canibalismo prehispánico y al tamalero asesino resultan igualmente propicias.

Pese a la gran distancia temporal que existe entre una y otra, ambas cintas mantienen su vigencia al aludir a la actualidad de México; pero, mientras la primera lo hace remontándose al pasado colonial, colmando un vacío muchas veces relegado y respondiendo a la cuestión de qué ocurría aquí antes de la Independencia, la segunda está dolorosamente situada sobre las heridas del presente, como un desolador vaticinio del futuro que nos espera si la nave no endereza la trayectoria.

Altamente recomendables los dos filmes; pero si lo que uno quiere es olvidar la violencia y dejar por un momento los temas de los noticieros, es más recomendable ver El baile de San Juan; y si como afirma Rafael Lara, director de la comedia Labios rojos, protagonizada por Silvia Navarro y a estrenarse el próximo 7 de octubre de manera simultánea en México y Estados Unidos, el cine mexicano sólo tiene una semana (o incluso tres días) para hacerse conocer y disputarle un sitio a las omnipresentes películas de Hollywood, mejor ir cuanto antes a ver cualquiera de las dos películas, porque, seguramente, el jueves de la siguiente semana habrán abandonado la cartelera.

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