“Mai morire”, entre el sueño y una chinampa de muñecas

Mai-morire-afiche

©Una Comunión / Zamora Films / Simplemente / Celuloide Films

CARLOS ALBERTO RIVERA OLMOS |

La realidad se rompe. Renace en un trayecto por un lago, en un retorno acompañado de neblina, de árboles, de duelo (de uno próximo, inevitable). Xochimilco luce sus aguas más claras, sus amaneceres más portentosos, sus flores más bellas. La estética de la imagen se muestra imponente, insuperable. Sostiene todo y a la vez desequilibra. Guarece el recuerdo (de la palabra, de la chinampa, del mito, de la ciudad lacustre), aunque despoja la credibilidad del paisaje cotidiano.

Mai morire (2012) es una búsqueda, la reflexión del cineasta mexicano Enrique Rivero sobre la insoslayable muerte. Su punto de partida se encuentra en Rosario. Ella, con su apelativo “Chayo” prendido en los labios de otros, con su historia, con su cuerpo tangible, apareció ante Rivero como principio, como finitud, como posibilidad cinematográfica para tocar a la vida con la misma vida ataviada con ficción.

El acontecer de Chayo, el que reconstruye el realizador, gira en torno a su regreso a Xochimilco. Ahí, su madre sucede, entre la esperanza de sus próximos cien años y la cercanía inevitable de su muerte. Rosario regresa no para concluir sino para continuar. Vuelve a su hogar para reencontrarse con su familia, para afrontar sus miedos, para tomar decisiones. Mientras tanto, el destino se encuentra sobre el agua, flotando como balsa, en espera de ser abordado por ella.

Al igual que en Parque Vía (2008), Rivero hace uso de no-actores. En Mai morire, él le brinda su confianza para interpretar a Chayo a la cantante veracruzana de Son Jarocho, Margarita Saldaña. El resultado no es del todo contundente debido a que los elementos constitutivos del filme carecen de cohesión.

La fotografía de Arnau Valls Colomer (galardonada en la séptima edición del Festival Internacional de Cine de Roma), es el pilar de la cinta, su bastión. Muestra la naturaleza del lugar en armonía con los rostros y acciones de los personajes, los sublima, los convierte en un lienzo en movimiento. El desajuste se da en la actuación. No hay verismo en los personajes, sus diálogos se escuchan vacios, forzados, inocentes como la declamación de un niño en sus primeros años de escuela (caso similar sucede en la cinta de Alberto Cortés realizada en 2008, Corazón del tiempo).

Es clara la intención de Rivero de trabajar nuevamente con aspectos propios del cine documental, entreverados con componentes de la ficción; sin embargo, esta vez su propuesta se ve fracturada, no llega a concretarse, a ser una obra completa. Mejor resultado, en cuanto a integración de todas las piezas, logró con Parque Vía y su personaje que se habituó al encierro (otro ejemplo de una relación armónica entre todas las partes, sobre todo en lo que respecta a la fotografía y a la actuación veraz de actores naturales, radica en Los últimos cristeros [2011], de Matías Meyer).

Mai morire se asemeja a una luna que quedó a un instante de completar su ciclo. Pese a eso, la luz que proyecta es bien recibida por la mirada y por la noche. “Nunca morir” es el significado del título del filme, la señal que Rivero halló en Italia enviada por el destino. Tal vez, de ahí se desprende el misticismo de la película: la seducción romántica que rodea cada cuadro de la cinta.

En Mai morire la muerte viaja en trajinera, se confunde con la vida entre el sueño y una chinampa de muñecas. No hay miedo, sólo hay leyenda. La cámara lo capta todo, los pies descalzos, la tierra que florece, el silencio blanco de una mujer hecha montaña por la palabra. Ella duerme aunque ya sea de día, aunque Rosario ya haya despertado de su pesadilla. Los muertos comienzan a llegar, los niños lo hacen primero porque tienen las piernas chiquitas, lo ha explicado la abuela. El agua se cubre de veladoras, el sol se ha ido, un manto de fuego fluye en una barca taciturna. Todavía hay tiempo. Las veladoras aún no nos pertenecen.

| RMM | CARO | @Lavidaescine |

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