Cortometraje de animación [GIFF 2013]

“Boles” (2013), Špela Čadež

OMAR ARRIAGA GARCÉS |

Guanajuato, Gto.- Abstracción y muy buenas técnicas, aunque sin un hilo narrativo claro, fueron el denominador común de la mayor parte de los trabajos en la primera de dos proyecciones de la Selección de Cortometraje de Animación del Festival Internacional de Cine de Guanajuato (GIFF), donde The Hopper (Alemania/Dinamarca, 2012), realizado por Alex Brüel Flagstad, ha sido de los pocos cortos que no ha exhibido esa carencia.

Dexter, quien vive con su abuela, es un personaje de plastilina de alguno de los barrios bravos de, digamos, Nueva York, quien junto a su amigo Kevin usa sus armas de fuego para atracar a los traficantes de droga y negociar la mercancía de éstos; sin embargo, cuando Dexter pruebe la cocaína para verificar sus efectos el asunto en el que está involucrado dará un giro mortal tal y como ha podido corroborarlo mirando a través de la ventana de su apartamento.

Jamón (Inglaterra, 2012) de Iria López fue otro de los cortometrajes que en base a una trama harto interesante, cautivó la atención de los espectadores. Un puerquito de caricatura que no encuentra su propio lugar entre los miembros de su familia y los habitantes de su ciudad, descubre tener más en común con el feraz vecino de al lado que con sus propios padre y madre. Sin embargo, luego de presenciar el fin que su semejante tiene, el cerdito trata de una vez por todas de parecerse e integrarse con los de su comunidad, una realización muy divertida.

Completa la tríada de trabajos una narración impecable, Boles (Eslovenia, 2013), de Špela Čadež, en la que un escritor al que no le gusta que lo molesten se ve continuamente interrumpido durante su labor por su vecina Tereza, una mujer solitaria que recuerda a la madame de la cinta Zorba, el griego, de Michael Cacayonnis, tanto por su afán de recuperar una época perdida como por su esperar a alguien que no volverá. No obstante y tras varios rechazos, el escritor sentirá la necesidad de buscar a Tereza sin saber si todo lo ocurrido fue un sueño.

Pero no todos los cortometrajes no figurativos fueron sinónimo de realizaciones malogradas, Futon (Japón, 2012) de Yoriko Mizushiri, en el que una figura femenina se convertía en diversos elementos culinarios y aromáticos, fue una perfecta fusión entre erotismo y gusto (como uno de los cinco sentidos).

Los pandas (Pandy, República Checa/Eslovaquia, 2013) de Matúš Vizâr, un thriller de animación ciencioficticio hizo el deleite del público, exponiendo el proceso de selección natural y evolución de estos peludos osos de China, yendo incluso algunos cientos de años en el futuro para contarnos sobre su desarrollo y urbanización.

De Pan Fibonacci (Croacia, 2012) de Danijel Žeželj, lo más rescatable fue la música, además de la idea de la serie del matemático italiano de nombre homónimo, que vivió en la Edad Media, sin que el cortometraje saliera de una atmósfera un tanto repetitiva.

Completaron la exhibición el divertido Una chica llamada Elástika (A Girl Named Elastika, Canadá, 2012) de Guillaume Blanchet, corto hecho en su totalidad con ligas y tachuelas; Toto (Polonia, 2013) de Zbigniew Czapla, con impresionantes acuarelas; Serafìn (EE.UU., 2012) de Dash Shaw, una parábola religiosa sobre la homosexualidad de un niño; el extraño cuento negro El asunto triangular (Kolmnurga afäär, Estonia, 2012) de Andres Tenusaar, donde los cuervos resultan ser conspiradores; y Como conejos (Comme des lapins [Chroniques de la poisse, chap. 2], Francia, 2012) de Osman Cerfon, de los cuales —junto a otros diez cortometrajes— los directores Don Hertzfeldt y David Oreilly, así como el artista mexicano Carlos Amorales, deberán elegir los trabajos ganadores.

| RMM | OAG | @OmArriaGarces |

“Pandy” (2013), Matúš Vizâr

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