Del ensayo fílmico de Iván Ávila

©13 Lunas / Archivo Memoria, Cineteca Nacional

Cine carente de recuerdo. Vida sin memoria. ¿Es posible pensar a la existencia sin la imagen del pasado, la que despierta cada vez que un estímulo (lumínico, palpable, sonoro) nos aleja del presente? Iván Ávila Dueñas, realizador cinematográfico oriundo de Zacatecas, responde a la interrogante con una intervención de diversos filmes caseros, con una película de 67 minutos que explora el punto de encuentro entre el arte fílmico y el instante imperecedero. Recordar, sin olvido.

La cinta de Ávila (compuesta por notas de piano, violines, intertítulos, recuerdos provenientes del México de los años treinta, de los años cincuenta; imágenes en blanco y negro, en sepia…), vuelve la mirada al ayer de tres habitantes zacatecanos: un ingeniero de minas, un cura y un constructor. Sus historias personales, filmadas por ellos mismos, son unificadas por el orden narrativo del también director de La sangre iluminada (2007). En ese sentido, la labor del cineasta se centró en el visionado y en la selección del material fílmico del proyecto Archivo Memoria de la Cineteca Nacional de México. El trabajo (arduo en todas sus etapas de producción), devino en un ensayo cinematográfico que reflexiona sobre una de las más bellas virtudes del cine: fijar el recuerdo pese al tiempo y su marcha imparable.

Mucho se habla de la nostalgia y del olvido en los guiones de las películas de Hollywood. De cierta manera, el “gigante” estadounidense se ha encargado de trivializar y de reducir la disertación sobre la memoria en el séptimo arte en una fórmula comercial sensiblera y vacua. En camino opuesto a las cintas de la industria de Estados Unidos, el filme de Ávila no se detiene en los terrenos del pasado glorioso, en el amor de la niñez (el primero) como motor de vida del presente, en la explotación de la añoranza… Su propuesta cinematográfica ahonda en el misticismo del celuloide, en su victoria contra el dios Cronos, en su posibilidad de sostener nuestra imagen a pesar de la muerte.

Siempre se agradece que una película motive ideas, cavilaciones. En el caso de La vida sin memoria parece dulce (2013), diversas preguntas se desprenden de ella, diversos razonamientos. Por ejemplo, en un momento de la cinta, uno de los intertítulos devela (la mayoría de las veces no somos conscientes de ello, aunque esté sucediendo frente a nuestros ojos) que el cine hace presentes los recuerdos de la otredad.

Sean documental o ficción, las producciones cinematográficas comparten (guarecen y hacen visibles) las situaciones pretéritas de personajes (generalmente) ajenos al público, a su cotidianidad. En ese contexto se da la pregunta: ¿en la pantalla grande se encuentran todas las memorias del mundo? También ahí, en tal coyuntura, se intuye casi de manera automática, la necesidad de más historias, de más pueblos, de más miradas… (Sería lamentable que los recuerdos del orbe consistieran únicamente en la cinematografía de un sólo país, del hegemónico. Por eso resulta vital para el recuerdo colectivo, el cotidiano, el universal, la existencia de proyectos como el que emprende Cineteca Nacional con su archivo fílmico).

“La vida sin memoria no habla, no intriga, no trasciende…”, se lee en una de las frases del filme de Ávila. “Regresar, aunque duela, es sano”, nos advierte. A simple vista parecen convincentes sus palabras. Nuestra existencia camina, se transforma, permanece en movimiento gracias a los acontecimientos vividos. Sin ellos, sin su evocación, todo se mantendría estático, en blanco. No habría emoción. No habría historia, empero, el cine evita que nos quedemos con una sola reflexión.

Wong Kar-wai, maestro fílmico de la nostalgia estética, aduce en su filme Cenizas del tiempo (Dōng xié xi dú, 1994): “La raíz de los problemas del hombre es su memoria. Si no existiese el pasado cada día sería como un nuevo comienzo…”. El contrapunto a la premisa de Ávila, lo refuerza Woody Allen con su Medianoche en París (Midnight in Paris, 2011): “La nostalgia es negación. Negación del doloroso presente.”.

Al final de la jornada, La vida sin memoria parece dulce (con toda su parsimonia, con todos sus puntos de luz), le concede a la audiencia el instante justo para reflexionar y para tomar su propia decisión frente al hecho cinematográfico: asumir al cine (y a la existencia misma), como la última escena de Cinema Paradiso (Nuovo Cinema Paradiso, 1987), en donde el siciliano Giuseppe Tornatore, mediante la imagen femenina y la concatenación de distintos besos claves en la historia de la gran pantalla, sintetiza la posibilidad del cinematógrafo como noble guardián del recuerdo; o, elegir la postura de “Fred”, el personaje de Por el lado oscuro del camino (Lost Highway, 1997), de David Lynch, que odia las cámaras y que prefiere recordar las cosas a su manera.

La vida sin memoria parece dulce forma parte de la selección oficial del 33 Foro Internacional de la Cineteca. Consulta cartelera, aquí.

| RMM | CARO | @Lavidaescine |

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