“Después de Lucía” [GIFF 2012]

©2012 Pop Films

Guanajuato, Gto.- Hacia el final del primer día de actividades del Festival Internacional de Cine de Guanajuato (GIFF 2012), actores, realizadores y productores fueron testigos del estreno en Latinoamérica del filme Después de Lucía, segundo largometraje del cineasta mexicano Michel Franco, con el cual se hizo acreedor en mayo pasado al galardón “Una cierta mirada” del Festival de Cine de Cannes. La cinta aborda el tema del acoso escolar, mejor conocido bajo el término bullying.

Roberto (Hernán Mendoza) decide mudarse a la Ciudad de México después de que su esposa —Lucía— falleciera en un accidente. Presa de una fuerte depresión, el padre de Alejandra (Tessa Ía González) dejará de lado a su hija, quien, pese a sufrir incontables abusos y humillaciones en su escuela, optará por guardar silencio ante la poca atención que se le brinda, con la decisión de afrontar por cuenta propia sus problemas y no llevarlos consigo a casa.

Luego de su polémica cinta Daniel y Ana (2009), el recibimiento que Michel Franco obtuvo con Después de Lucía en la presente edición del GIFF fue notable; y es que la historia protagonizada por Alejandra, una jovencita preparatoriana interpretada por Tessa Ía González, mantuvo a los asistentes al filo de su butaca.

Con una trama que mezcla dos de los asuntos más duros que experimentan actualmente los estudiantes en las instituciones de educación —el bullying, acoso; y el sexting, ridiculización por la distribución de un video erótico vía internet—, Después de Lucía resulta una película bien llevada y con un esquema conjunto, a pesar de los excesos en la decisión de los encuadres, la iluminación de la fotografía, y una narrativa que pareciera precipitar los acontecimientos, creando cierto grado de artificialidad que hace mella en la verosimilitud de la historia.

Sin embargo, la magnitud de algunas de las escenas del filme es suficiente para que no se pierda el hilo del relato, como aquélla en la que el grupo de estudiantes que molesta a Alejandra festeja su cumpleaños de manera poco ortodoxa, o aquella otra en la que, en un viaje a Veracruz, se celebra una fiesta en la que Alejandra tiene un lugar poco agradable.

Filme diferente, que apuesta por una estética sutil de la violencia, Después de Lucía irá a colocarse, con justicia, junto a Somos lo que hay (2010) de Jorge Michel Grau, como uno de los trabajos cinematográficos más inquietantes de la última década del cine mexicano.

RMM/OAG

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