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THE INVISIBLE BECOMES VISIBLE
Invisible is, at the beginning, a word incompatible with the cinema. Because his essence is, precisely, the visibility. The cinema is the art of the vision and the light by antonomasia and its basis settles down on someone who looks the screen (in a cinema, television, mobile phone or computer) making visible something, because without the look there is no film. The so-called views of Lumière made visible landscapes and people from all around the world: men and women walking on the streets of Japan, Egypt, France or India; faces and bodies of real people, close and far. But these images were done from a bourgeois point of view and from a certain point of view, the one of the European white men, who decided what to show and, therefore, what to hide. The sight that has build the history of the cinema.
The major part of the cinema that has been consumed by the Occident world (and a big part of the non-occidental world too) for decades has been formed by the production of Hollywood in a overwhelming way, and in a minor quantity, the cinema from European countries. Despite of the documentary potential of the cinematographic camera, of its immense ability to capture the life, many realities have not had access to the screen.
However, many filmmakers have brought to the light the hidden, the uncomfortable, what nobody wants to see, especially in the documentary field, but also in the fiction. From time to time, in a specific time and moment, it was produced an amplification of the visible world registered by the camera. Plenty of workers in the soviet films in the 20s. Flaherty brings his camera to the ice to tell the life of Nanook of the North (1922). King Vidor fills the screen of Afro-American faces in Aleluya (1929); nevertheless, between the 20s and the 50sof the XX century black directors as Oscar Micheaux or Spencer Williams made films in Hollywood that not even today appear in the manual of the history of the cinema.
After the World War II, the neorealism puts the cameras on the streets to tell the life of the working class and of those who were on the borders. From the 60s of the past century the field of vision widened notably, a widening not only geographic, but also esthetic and with contents. To the Japanese films that, with dribs and drabs, were arriving the past decade and to the trilogy of Apu of Satyajit Ray now we must add the Latin-American cinema, above all Mexico, Brazil, Cuba and Argentina. Also new stories not told before of those who have not appeared on screen. Today, although the market is still full of the Hollywood production, we have more possibilities of access to audiovisual works done in wherever part of the world, so we can see different faces, landscapes, conflicts and realities that before were invisible to our eyes.
In our capitalist world full of images that, many times, replace the reality, not having an image is a condemnation. The condemnation of invisibility. That is the reason why is necessary to bring to light, take out from the darkness. The season that the film library proposes for the Festival 10 Sentidos narrates some of the stories of people and groups in the borders, people without rights, discriminated and forgotten. Two of these stories are stared and directed by women, because throughout the history of the cinema women have been hipervisible as objects of desire made by the view of men, but that have remained practically invisible as subjects, as creators.
Alanis, directed by the Argentinian Anahí Berneri, tells the daily story of a sexual worker. It does it from the opposite of the romantic ideas that the fictions of the men have built around the figure of the prostitute, but also far from the redeemer or moralizing sight that has set certain ways of the called social cinema. Moreover, the Chilean Pepa San Martín tells Rara the true story of a lesbian judge who lost the custody of her daughters due to her sexual identity. She does it from the teenage daughter point of view who must learn harshly that “normality” does not exist and that her life is marked by the way of looking her of the people of her surroundings and the official institutions.
Another teenage stars La madre, from the valencian Alberto Morais (who will attend to the projecting the 17th), story of an unassisted childhood and marginal that, as Alanis, runs away from the moralism and melodramatic sensationalism to explain the situation of those to whom the society expels and gives invisibility. Last, in César debe morir, the brothers Taviani, veteran Italian filmmakers experts on this task of putting the focal point on the invisible, decide to enter with their cameras, having around 80 years old, to the place where no one wants to enter, the prison, to tell the real life of the inmates and to film the rehearsals and the staging of the performance of The tragedy of Julius Caesar of Shakespeare that are making the inmates.
Four films that not only give visibility to hidden and emarginated realities, but that in their esthetic and narrative proposals offer different ways of looking, far from the satisfaction and the common places. A vindication of the huge ability of the cinema to reveal to the world in all its dimensions and complexity.
ÁUREA ORTIZ VILLETA
TRANSLATION BY: ROSANA MARTÍNEZ TURÉGANO
César debe morir (Cesare debe morire). Paolo and Vittorio Taviani. Italy, 2011. 76’. Original Version with Subtitles
8th May, 20h.
9th May, 18h.
Rara. Pepa San Martín. Chile, 2016. 93’
11th May, 22:30h.
18th May, 18h.
La madre. Alberto Morais. Spain. 2016. 89’
17th May, 20:30h. Presentation by the director Alberto Morais
19th May, 18h.
Alanis. Anahí Berneri. Argentina, 2017. 82’
18th May, 20:30h.
20th May, 20h.