La búsqueda del camino. Farinellis, Trabajos de ficción 1

Farinelli(Mex)Sueños ávidos por guarecerse en la eternidad de la imagen cinematográfica se vislumbran en el trayecto de una generación de estudiantes que espera, al ritmo en que una lata de película de dieciséis milímetros se destapa, entablar un romance, duradero y fructífero, con el séptimo arte.

Cada uno de los/as escolares de dicha generación, el pasado jueves 18 de noviembre del año en curso,  se enfrentó a la prueba de realizar un cortometraje con el fin de demostrar sus habilidades cinematográficas y superar el reto de la creación de una película.  Tal prueba se llama, “Ficción 1”, y representa el primer ejercicio de realización que todo/a alumno/a del Centro de Capacitación Cinematográfica (CCC) de México, debe preparar durante su primer año de estudios.     

  Farinellis  — sobrenombre  creado  al hacer  la analogía de la castración del afamado soprano Farinelli con el cese de Ángeles Castro Gurría como directora del Centro de Capacitación Cinematográfica para el periodo 2009-2012— es como se le conoce a este grupo de cineastas en formación cuyas diversas edades y número de integrantes les brinda un trazo atractivo de particularidad, en comparación con otras generaciones del CCC.

En sus primeros ejercicios cinematográficos los/as Farinellis mostraron valentía. Al igual que los personajes del poeta griego Homero, ellos/as se lanzaron al mar (en este caso del ensueño fílmico) tratando de dominar sus aguas y cambiar su cauce. No importando los riesgos latentes (o la furia de los dioses), los/as futuros/as cineastas se adentraron en la aventura; nadaron en contra corriente de lo establecido.

 La tradición de la “Ficción 1” dicta que el alumno debe elaborar un cortometraje en blanco y negro, con dos latas de película de dieciséis milímetros, una locación y dos personajes, evitando el uso de críos  y animales; los/as Farinellis fueron la excepción.  En un movimiento inteligente y subversivo, algunos de ellos se valieron de las bondades del formato digital así como de perros, hormigas, más de dos actores y un par de locaciones.

En lo que respecta al elenco de todo el conjunto de cortos (18 en total), los aprendices de cine congregaron a un grupo heterogéneo de actores independientes y de la rama comercial.  Destacan: Ari Brickman, Nailea Norvind, Mariana Gajá, y Gustavo Sánchez Parra.

Los trabajos de “Ficción 1” de los/as Farinellis, en general, demuestran el proceso de búsqueda de un camino viable para hacer cine. Encontrar la historia de la que se debe partir y la mejor manera de contarla, explotar el lenguaje cinematográfico, dirigir actores experimentados, y conjuntar tanto elementos técnicos como humanos en una armonía específica, que dé como resultado la concreción del filme y su claridad narrativa, fueron algunas situaciones que debieron resolver los estudiantes de la ya mencionada generación del CCC.

Algunos de ellos presentaron dificultad en el empleo lógico de planos y movimientos de cámara; eso impidió que sus historias fueran totalmente comprendidas por el público. Otra de sus debilidades fue el recurso de situaciones sobreexplotadas tanto en la pantalla chica como en la grande (la mujer fatal que busca venganza, la vieja máquina de escribir que vaticina tragedia, la copa que cae y se fragmenta en un momento climático, entre otros escenarios gastados), que abrieron paso al tedio y malograron sus propuestas de época y farsa. Se observaron, grosso modo, proyectos minados por yerros técnicos y narrativas dramáticas endebles.

Por otra parte, varios de los cortometrajes presentaron virtudes que dejaron un buen sabor de boca en la audiencia. Tal es el caso de “Hormiguero” (2010), dirigido por Michelle Garza, en el que se expone de manera interesante la similitud de los seres humanos con las hormigas y cómo los destinos de ambas especies es cambiado por los caprichos de un ser más poderoso. Otro ejemplo es “Kelato” (2010), cuya directora Laura Baumeister supo guiar a su elenco para mostrar con contundencia  el momento en que un hombre de edad avanzada descubre la inocencia que aún habita en la prostituta con la que pasó la noche. El tratamiento estético de la fotografía de esta cinta, es de resaltar.  

El balance final de las proyecciones de “Ficción 1” de la generación Farinellis, es positiva. El camino aún es largo para estos/as constructores/as de sueños, sin embargo, mientras mantengan la constancia, la disciplina, la búsqueda de nuevas historias (creativas y propositivas), y el espíritu de pasión que mantiene vivo al cineasta, el séptimo arte nunca les negará nada.

AM/RL

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