Sofía Coppola y su poética del sinsentido

sofiaLos últimos diez años del ambiente alternativo cinematográfico han visto a Sofía Coppola lograr alzarse sobre la sombra de su talentoso progenitor para posicionarse –trabajo mediante- como una de las mejores directoras independientes. Especialmente en el sentido general de su alejamiento de los tratamientos del mainstream de la industria estadounidense –e inclusive del llamado cine de autor- para buscar una voz por completo personal que ha alcanzado significativos resultados.

La expectativa en torno a Somewhere (2010), el más reciente trabajo de la directora responde, en gran medida, a las dudas generales que entre la crítica dejó Marie Antoinette (2006) al considerársele un filme que flaqueó en contraste con sus trabajos iniciales y por el escaso valor histórico desde la perspectiva de los especialistas, así como por lo recargado de su puesta en escena.

Sin embargo, la directora fue capaz de sobreponerse a tales prejuicios y en su cuarto largometraje no sólo regresa a las bases estilísticas y temáticas de sus primeras obras sino que, con una evidente madurez en la pantalla, muestra un dominio encantador de sus temas y sus recursos personales.

Desde su debut en 1999 con The virgin Suicides, la directora dejó clara una poética fundamentada en lo femenino, no como personaje específico, sino como una esencia evanescente, inalcanzable e incomprensible; determinado por la cotidianeidad de su existencia, misteriosa y seductoramente cándida para los hombres que la rodean y quienes, además, la conciben como interrogante vital de su realidad.

En The virgin suicides, los hombres –niños en realidad- envueltos en el misterio de la existencia de cinco adolescentes que sobrepasan el carácter de una identidad para ceder a lo imaginario, a lo ideal, dando a esos cinco fantasmas un carácter de alegoría de una juventud sobrepasada por el sin sentido de sus acciones, su vida y su realidad.  Sin embargo, lo femenino –protagonista sobre todo- se eleva entre tal sin sentido como única verdad en tanto ternura, sinceridad y pureza.

En Lost in translation (2003) lo femenino se personifica en una mujer perdida (una virginal Scarlett Johansson) y lo masculino en un actor venido a menos (un sobrio y genial Bill Murray) que en un encuentro participan de la misma dinámica: lo femenino, más allá de su carácter individual, se presenta como una guía de lo masculino, ya sea hacia la crisis, al cambio o al renacimiento, pero siempre como punto de ruptura hacia un descubrimiento personal.

No obstante, el éxito de tales tratamientos radica, en ambas películas, en la ausencia deliberada del uso de un componente sexual explícito –que no erótico- lo cual dota a las relaciones planteadas en ambos filmes de un matiz paternal que se levanta sobre las correspondencias de carácter meramente físicas de sus protagonistas, además de la exacta atención que la realizadora otorga a expresiones, mutismo y lentitud.

En este sentido, Somewhere representa una culminación paradigmática del estilo ya propuesto: un actor hollywoodense, sumergido en el desenfreno y el hastío, recibe a su hija pre-adolescente gracias a cuya cálida presencia logra reconocerse incompleto, mas dispuesto a empezar nuevamente por el aliento que la pequeña da a su existencia. Si bien tal premisa podría tender hacia la cursilería sosa, Coppola logra un relato exacto donde nos presenta una serie de cuadros obscuros y monótonos en el padre en contraste con la luminosa melancolía de su hija. Sin duda, la oposición entre lo paternal-virginal es aquí no sólo obvia, sino vitalizada con un claro eco autobiográfico de su realizadora.

En sus cuatro filmes (incluido Marie Antoinette, que si bien presenta una cargada puesta en escena, presenta de una manera contrastante una austeridad discursiva como metáfora del hundimiento de la protagonista, causada por el controlador y asfixiante protocolo y una soledad interminable) vemos el desarrollo de una narrativa determinada por el nihilismo melancólico, cuya imagen definitiva se bifurca entre la esencia femenina que encierra el misterio de esa melancolía y la masculina, que se reconoce en ella. El resultado: un cine intimista, de murmullo, totalmente humano y libre de pretensiones estilísticas o discursivas propias de los ambientes de festivales de cine. Un cine naturalmente triste.

Así, pionera del cine minimalista del nuevo siglo al usar la contemplación cinematográfica con genial asertividad, Sofía Coppola ha logrado en cuatro elocuentes y sutiles obras estructurar un claro perfil temático que hace de su trabajo un denso crisol semántico en contraste con el minimalismo retórico y la austeridad de sus recursos, adoptando aquella tendencia contemplativa para crear un cine muy personal y posicionarse como real, y sobre todo, sincera autora.

RL/ AM

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