“Los mejores temas”

“Los mejores temas”, 2012 / Dir. Nicolás Pereda

Es la nueva película del director mexicano Nicolás Pereda (Ciudad de México, 1982). Con este filme el director sigue explorando un estilo: mezcla ficción con objetos documentales y usa planos de larga duración como reflejo de lo fatal de lo cotidiano, de la vida misma. La cinta se exhibirá en el marco de la 54 Muestra Internacional de Cine de la Cineteca Nacional, del 9 de noviembre al 5 de diciembre del presente año.

Es la historia de Emilio, un hombre de cincuenta años que regresa a casa de su hijo y su madre después de quince años de abandono. Gabino y Tere lo reciben con cierto recelo y confusión. Luego de un par de días deciden echar a Emilio de la casa pero se percatan de que él ya se ha marchado por cuenta propia. Días después, Gabino busca a su padre y pasa con él unos días en su departamento.

Por películas como Verano de Goliat (2010), Pereda ha adquirido reconocimiento internacional, con ella ganó el Premio a Mejor Película en la Competencia Cine del Futuro del BAFICI en Buenos Aires, Argentina. Además se han realizado retrospectivas de su obra en el Festival Internacional de Cine de Jeonju en Corea del Sur, el Festival Paris Cinéma en Francia y los Anthology Film Archives en Nueva York, entre otros.

El cineasta explica que su trabajo está entre el video arte y el cine. Lo que en realidad muestra es una forma diferente de expresar la narrativa cinematográfica, porque en ningún momento se percibe en su imagen lo experimental: ni en efectos ni en la composición ni en encuadre. Sus planos son básicos, carecen de inventiva, y si observamos que ese estilo se repite en sus trabajos, podríamos pensar que en realidad teme a la innovación, lo cual lleva a fórmulas predecibles y comentarios del tipo: “Ah es de él la peli… No gracias, ya sé cómo va”.

Por otro lado, el filme sigue una tendencia: la ficción documental. No es innovador pero es experimental en el sentido que lleva el fuera de campo y la voz off a la narración y esto provoca una reacción de asombro e inquietud en el auditorio, pero ello sólo es salir de las convenciones clásicas; sirve como un signo extra diegético que nos descontextualiza pero no hace a la trama más interesante, al contrario que The Truman show (1998) de Peter Weir, en donde se incluye a la parte que narra (la cámara) con implicaciones graves, o en De Roma con amor (To Rome with Love, 2012) de Woody Allen y Edtv (1999) de Ron Howard, en donde los personajes exploran las consecuencias de la invasión de la cámara a su vida personal.

Concluyamos, pues: su propuesta combina realidad y ficción. Para ello contrata a actores no profesionales (tendencia en boga, también lo hace Carlos Reygadas, por ejemplo). Mi pregunta es entonces: ¿Utilizar a no-actores aumenta la realidad? Su narrativa es lineal y simple, demasiado común y cotidiana, los cortes son abruptos y la música molesta, lo cual me lleva a pensar en Pereda como un transgresor de los paradigmas cinematográficos, pero no como un gran artista.

RMM / Jimena Ladu Cine / @jimenaladu

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