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" The wounds are mouths and eyes that never lied "

Pedro Calderón de la Barca

I happen several times during the year to inquire into the mode of representation of real events that mark deep furrows in history and left indelible wounds and difficult to heal. I am not referring to the border of the yield and representativeness of the pain that I have spoken to some Go 'and see , but just to relate to the traumatic events of history is not shared, or at least perpetual source of controversial discussions politically motivated , passing over the true meaning of tragedy on which to build. South America in this sense has always been a veritable incubator for these tensions. How many things should tell you about those places, but on time are avoided. How much history is silenced, denied or distorted to the point of irritating anyone with a minimum of historiographical notions of those places.

why so many filmmakers, artists in general but I dare say, from those places feel the urgency to talk about these things, but the rock face of the register to be taken for several reasons. The love of truth, the distance of the eye and not the least respect for the victims are to be taken into account. For example, this year I had similar thoughts after watching Post Mortem, the Chilean Pablo Larraín good film that has been in Venice and a strangely did not win instead of any film Coppola. How can a Chilean deal with an event like that unfortunate quell'undici ² September 1973 when he was deposed by the brutal killing President Allende? Well Larraín has chosen a representation of the cold and dry tank, is felt throughout the film his own power, leading to fear and almost touches the emotion in the hardest moments of the film: the autopsy of Presidentissimo. This is all you need to provoke empathy in the viewer, a film turns out to be imperfect as painfully necessary and finds its raison d'etre. By extension, one could also say it is a film that makes her weak in the face of historical fact made his own strength.

This is not to say that this film is in no way be compared to the Carrera's Larrain, but it seems fair to call into question the Chilean as a counterexample because all this courtesy and empathy to forward this will end up be absent in the Mexican film. The facts from which it takes inspiration El traspatio are vastly different from each other in Chile, but they are potentially a source of incredible film, a story that just would like to be told, and could give birth to one of the final film on the pain of a people and human barbarity. So even if it is a movie that adopt different registers, use different styles and they want to land on other shores, I think it is better to start from the common problems of representation and narration to be able to speak properly.

Mexico is the place where death hovers with ease, where there is a war between the drug traffickers that has claimed 9600 lives in 2009 and this year has already broken through the threshold of 10000 . Ciudad Juárez is one of the most populous, located in the state of Chiuaua on the border with the U.S., to be precise with El Paso. Carrera points out the thing with a good view during the opening sequence that goes from one extreme to another, from Mexico to the U.S. and the original title El traspatio, such as The International Backyard emphasize the nature of Juárez as a rear courtyard of El Paso . E 'in this context of death and desolation that the deepest abyss is achieved by the murders of women, not drug traffickers then, but simple workers of the factories or maquilladoras of gringos who exploit underpaid labor to across the border. I'm sure there are more detailed and accurate statistics those of wikipedia speaking woman of around 5000 victims since 1993, but it is a situation so chaotic that it is extremely difficult to navigate within the tragedy.

The statistics are a cool detail, but important to understand the depth of the abyss. It is no coincidence that one of the best parts of art that has cleared through the public issue Juárez is a great video of At the Drive-In, where numbers count a lot and the band refrains from being seen with the tools or any way to mention any choreography for their song, just not to damage the sense of the video or impair the informational message. It would be nice if you could say the same about this movie that, while flood of statistics on giving us credits on behalf of misogyny and crimes against women in Mexico, but also in the globalizing world the message ends up too dramatize the adventures of the hero cop . Yet there are many good things in the film, starting by the excellent visual quality that adequately address the plain narrative of a screenplay which, though excellent in more than one point, inevitably lose a bit 'pieces for the street. problem is perhaps in an excessive write the whole narrative, but where you could leave it a bit ' instinct for a story where the emotional matters much.

For example, I really appreciated when the voluntary women's rights said on the phone with a skeptical journalist on the interest of readers for the murders:

"You could make the first page on how the killers of women in our country are more newsworthy "

This I find one of the most successful passages of the script is a bit 'the heart of the matter which gives the pulse of the situation and it seems a fitting tribute to the awareness of women 3 the tragedy that was investing in those years: the murder seen as normal daily anywhere in the world can not and should not be accepted in any way. I do not know very well the reasons for the popularity of the screenwriter Sabina Berman in Mexico that I know of many successful plays writer and producer of this film, but certainly it is high professional. His research work is certainly remarkable, because in two hours of film, nothing is overlooked and all the tracks are followed to put in police jargon. The phrase is the theme for the film inevitably ends up looking like a detective, in order not to leave behind any shadow, every darkness of the story deals with the various proposed interpretations given to femicide. Assumption of a serial killer, that of human beings to explode most plausible hypothesis of no man's land where everyone is free to do what they want to do. The final portrait of Juárez is actually that of a lawless city where all the mentally ill and criminals of the world can go, and any horror impunity.

The author must say that it is also clear from this point of view. Neoliberalism and accuses the multinational companies that go to make money in Mexico on labor costs low and makes them complicit in this brutal vicious circle. He accused the authorities of the place of being corrupt and present it as a continuous cycle of evil and greed that are regenerated continuously from generation to generation 4. Well everything is good, mind you, but you return to the problem of language representation that I mentioned at the beginning of the post. Unfortunately, the writer while showing the best will in the world makes the mistake of doing too much hinges on its characters. The main character played by Ana de la Reguera is a heroine and tells us the name all too didactic tone that combines the pure white ( Blanca ) courage ( Bravo). From beginning to end of the film we see her squirming in their difficulties, grow, evolve and get even to a final confrontation with the darkness. In short, we see it all happen that is written in the manual of the perfect Hollywood screenwriter, only that it is not The Silence of the Lambs but a film inspired by real events 5.

seems very focused and balanced discussion about the long Marilyn Ferdinand on film. It is rightly reflected on this as a heroic figure in determining a film on the victims is a "step back" of feminism in modern concept affects the final outcome of an otherwise excellent film, but I do not dwell on that I love repeat what has been said by other people admirably. Besides all the good Carrera runs really well and is in great form in translating it into pictures with the fair and balanced dose of violence on stage that is fully functional to the story. One might then also ask if any other author could have done better, but this is likely to remain in the field of imaginative hypothesis. At the end is a good movie, that could certainly be better: painful, necessary, but we are still waiting for the masterpiece.

At least as reprehensible is fortunate that the script is not present in the Berman vampires or fantastic espionage plots 6. Consoled by the fact that you could do worse. From this point of view I also pretended not to know that there is a Hollywood film directed by Gregory Nava, with Jennifer Lopez and Antonio Banderas. In view of this thing you could probably forgive the closed end, very questionable and I try not to tell those who want to ever see the movie, where you face Ana de la Reguera and Jimmy Smits, who is the bad entrepreneur. Smits is also well-known face in our country for his part in several large series of Law & Order is a terrible own goal of production, which practically reveals the cards on the table and let the feeling of seeing a beautiful episode of the series American who happens often deals with sex offenders. Well not quite know what to say, maybe it's a good movie produced by a major or perhaps a wrong movie made by people willing, but the promotional aspect of driven website honestly makes me favor the first hypothesis. It is certain that the necessary labor and pain for the surrender of certain facts is a little 'bit. Far too little for the innocent girls of Juárez.

Technical

El traspatio
Year: 1985
Director: Carlos Carrera
Subject e Sceneggiatura: Sabina Berman
Cast: Ana de la Reguera
- Blanca Bravo
Asur Zagada
Marco Pérez - Fierro
Joaquín Cosio -
Peralta Alejandro Calva -
Commander Jimmy Smits - Mickey Santos
Carolina Politi - Sara
Amorita Torn - Margara Enoch
Leaño - Governor
Adriana Paz - Hilda
Lisa Owen - Silvia
Sayed Badreya - The Sultan
Juan Carlos Barreto -
Paloma Alvarez Arredondo - Elvia
Odette Berumen - Paula

1. C'è dell'ironia Nell'aria is non si fosse capito.
2. Lascia Undici notare come questo settembre di altro non sia terror diventato a monolith data di fuori da Ricordare to the paese in cui è accaduto hoping it will inspire some reflection.
3. There would be quoted the whole movement of women who seek to oppose and to obtain justice for all these barbaric. Unfortunately I have no time to dwell, but at least point out the most important association from the beautiful and melancholy name: Nuestra Hijas de Regreso a House (Our daughters back home). If you have interest and desire there are links to all resources, including a list of all the documentary (books and videos) in this regard that I do I avoid. It should also be their initiative, if I am not mistaken, the symbolic pink crosses installed where there was the most numerous and important finding of the victims, so serious moment and dramatic as to be incorporated in the film.
4. Credit is due to its explicit Berman clear that avoids any turn of phrase and goes straight to the point even in interviews :

"At first I thought of telling the facts of the murders of women. Then I said, 'That's already been done in several documentaries and books. 'Then I realized that what I wanted to tell, beyond the facts, was that revolved around the killing. A multicultural society whose fatalism overflows indifference. A state which fails in its most basic duties. A neo-liberal economics and globalization. And the proximity to the richest country in the world, the United States "

5. Another comparison on the language of representation of reality you could do with another great film inspired by real events as Memories of Murder. Also there are the crimes of a serial killer Koreano really existed and impunity that is used as a backdrop, the characters run in circles, following tracks, live micro-dramas, but there is no logic to that of hunting the killer reach its climax. In fact the only time that can be taken as such is only a reflection of the emotions of a character. In this way it preserves the painful side, unusual and lively history.
6. Forgive me the irony, but even as I try to address the discourse on register to be taken in the representation of actual historical horrors I run into these works of fiction. Far be it from me to try to interpret the intentions of the authors of these books, maybe in the first case, vampirism is a metaphor for a refined subtle subtext. In synopsis on the publisher's site but I read

Ciudad Juarez, a city 'Mexican border which has more' than one million inhabitants, and 'devastated by years of war between drug cartels for control the trafficking of cocaine to the United States. Since 1993, Juarez and 'ALSO' infamous because of the countless murders committed against young women, usually of humble social backgrounds. To date there are more than 5000 murders, among corpses found in the desert and girls disappeared and was never found. The victims are almost all aged 'between 10 and 40 years, and undergo the same treatment: kidnapped while going to work or on the way back home, raped, tortured, mutilated and killed.

E 'in this melting pot of corruption, violence and death that, in the middle of a trip from Miami to Los Angeles, David ends up accidentally, eccentric freelance writer in a British magazine that aims to' examine the phenomena rationally irrational '. A white Siberian tiger's open 'the road to a world of darkness, where horror and 'even more terrifying than that offered by the daily news ...

example of how I think I would not want to be a work of fiction about these things. The first paragraph (of 117 characters) fits historically record, while the second (just 64 characters) throws beyond the epiphany of a Siberian tiger in the sands of the desert that should divert it on the side mystical and esoteric that should be of interest to lovers of the literary sector. So what is the tragedy of Juárez in this case? I hope that the text belies the impression that it is easy lounge in which to develop a general history x vampires, magic and stuff. Honestly I do not want to investigate in order to give certainty to my reservations and I'm sure there will be around some Carampane by this author who is to defend his actions and I will explain why they are wrong. I must admit that for now it does not seem so far away from the morbidity of our talk show in which you create a background to be able to debating filthy men and women of the show on topics that never Li Tang.

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I had never spoken of Scandinavian cinema and it is somewhat strange given my love for those lands and for those people and we do a small deviation for Norway. I must also admit that some 'power to write something about this movie, because it is one of those things that leaves so many ideas but are classified as private. I mean what's better than three big man brute who find themselves segregated in Greenland to discuss the greatest systems of the affective sphere to close permanently in a monolithic silence to think for themselves. Sure it made laugh a little, but the film by Hans Petter Moland is sharp, cool and lucid analysis of human contradictions as the ice sheets that surround the three main characters.

think about it, it betrays at once the literary roots of the operation and there probably much of the autobiographical story that brings the poet Henrik Larsen (Gard B. Eidsvold) to accept a job as a trapper in Greenland to find the inspiration lost. The story begins with Larsen ( 1929), the Danish book Peter Tutein , strange and mysterious figure in early twentieth-century writer who lived and died young (47 years) and who lived in Greenland really like the protagonists of the film. Also the author of a sequel Larsen vender Hjem and also active in film and screenplay with the subject of a Danish film of 1939 set amongst the eternal ice titled Nordhavets mænd (Men of the North Sea). From the little that I find on the net I think it's a family film and therefore has little to do with Kjærlighetens kjøtere instead a film that is absolutely far from conciliatory.

E 'curious to note that some films are able to disappear from the face of the earth. Yet Kjærlighetens kjøtere you can not enter into the vastness of the films that have enjoyed little distribution, as it is circulated in at least since the days of VHS video titled Zero Kelvin with which it is certainly easier to find information. Over all its director is not this total stranger, however, view his prolific and discreet substantial budget of many of his productions. Even his association with the great Swedish actor Stellan Skarsgard, present in three films he directed, would be enough to give him everlasting glory. On the contrary seems to be a pearl in the large (retired) happy island of Scandinavian cinema: a drama inspired and high set in eternal cold in the early years of last century 2.

male Intimacy is the true realm of the film, which is not a novelty question on the extremity to which they may never get to love, but so elegant and dry items dry on the subject is rare to find. In this case then it is a valuable commodity that boasts of good writing and a grandiose production. Nothing like the eternal ice of the north could make it better as the setting, perfect to let go of the theater thinking, expand your mind and seek answers to their worries. Since the young writer in search of inspiration Larsen (Gard B. Eisvold) lands in Greenland understand from the faces of his two hunting companions that future ice puts a strain on the minds of residents. Not just the obvious wounds made by ice on their faces to betray it, but it is all the gestures in the characterization of silent scientist Holm (Bjorn Sundquist) and the rogue and grezzissimo Randbæk (Stellan Skarsgard). The environment and isolation, as the hunters at the beginning of the twentieth century saw other humans only when they came to collect the goods, there has clearly forged, and the youngest Larsen is on to shape. Moland is good at making just imagine how the story will revolve around the change and the change of a confused young man.

The climate that develops between the three is very heavy. And 'the good Stellan to be the driving around which the entire film. Admission is also involved in ' interview with the director confessed that he had to mediate to get close to this great actor's presence and the other Nordic Film legend Sundquist. It 'just when you face to face great performers that actors often give their best. Sundquist's interpretation of the scientist is in fact very good, with discretion and capability to history. The character itself is held outside in good order in the duality represented by Larsen and Randbæk and is at the very moment of his absence, which completely undermines the balance between the old hunter and the young writer as predictable right from the start.

impersonation mo 'ogre of of Randbæk made good by the Swedish actor is in fact considerable and reaches deviant tones and alienating when trying to reconcile with Larsen organizes a grotesque Christmas party. Slung in a Chinese red silk blouse discover the traveler to the East, with divinatory and visionary power. At this point we would have to open a small parenthesis on instinct by explorers of the ancient Scandinavian people, but I try not to dwell passage citing the fact that costume just in those places from a solo to the other end of the world as well as live in total isolation for his own choice. What is demonstrated by their extensive history in this regard is that the peak in the epic tales of exploration typical of those lands, legends mixed with history and myth as the Grœnlendinga saga, the saga Eiríks rauda and and Vinland Sagas glorification of the heroic passengers as Erik Thorvaldsson (Henry the Red) or Leif Ericson . That is to say what the short journey, the extreme conditions and the hermitage are real breeding ground for those people where, as does also show the film, the misanthropy and misogyny may even rise to infinite power.

does not reveal anything of the reasons that made Randbæk sterile and bad, always ready to harass the young man and tell him in the crudest of ways that it is wrong to love a woman a sea far away from him and useless read his farewell letter that speaks of an unlikely expectation. Randbæk The writer sees in the dark abyss of his own doubts, his frailty as a male, the vivid resentment that could get to try a man betrayed, and the total devastation that can bring about the end of a relationship. The continued progression of the inevitable tension between the two leads desperate climax in the snow all makes use of a blue twilight and the sum Moland praise for making these images on film. Does not reveal even the ending, but I would at least mention the crying of Larsen in games played and finished, a clear sign of surrender to Randbæk. What I wanted to avoid until the end becomes a reality, the replacement of the persecuted and the persecutor, between good and evil, between hero and defeat the monster is known to occur. The sense of inevitability is made as strong as a punch in the stomach and perhaps we should all weep for what could be miserable human nature.

Technical

Kjærlighetens kjøtere
Year: 1995
Director: Hans Petter Moland
Subject: Peter Tutein
Screenplay: Lars Bill Lundholm & Hans Petter Moland
Cast: Stellan Skarsgård
Randbæk
-Gard B. Eidsvold - Henrik Larsen Bjørn Sundquist
- Jakob Holm
Camilla Martens - Gertrude
Paul-Ottar Haga - Official
Johannes Joner - Men of the company Erik
Øksnes - Captain
Lars Andreas Larssen - Judge
Juni Dahr
Johan Rabaeus
Frank Iversen
Tinkas Qorfiq - Jane

1. The trapper or trappers are the center of the film. To this I can not recommend to anyone who is particularly sensitive to images of dead animals.
2. Probably the adaptation is very faithful the novel. The costumes you see in a few scenes set in Greenland are not precisely in that period and in a newspaper one of the main characters learns of the last days of Lenin. In fact, the film was shot in the large Danish island in the North Sea, but in smaller, though no less cold Svalbard is Norwegian as the film itself.

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Some time ago I introduced the figure of the Llorona trying to figure out the return of this continuous spectrum of women in various incarnations to infest the whole Mexican culture including books, movies and music. Syncretism between the pure fascination of its attractive appearance of a woman and her intentions to use moralistic folklore in the city meant that the story has spread throughout the South American cone and present characters similar to other legends of the globe. In fact, as I have repeatedly tried to highlight in the Mexican variation of this archetype has been strongly influenced by colonial history and even politics. This detail is not negligible even when you go to see a movie like The Maldición De La Llorona. Although the film has no political intent, historical or symbolic and just wants to trace the stylistic features of contemporary European cinema gothic is singular to note that the factors mentioned have infiltrated congruence with the truth. What interests me as usual is not making a sterile film criticism, but understand it and get to the heart of the matter. As a naive to the law itself may seem a reshuffling of old beliefs around the world or take the form of the narrative of man's innate fears, for many, this film is branded as an adaptation to the soil of its Central European counterparts. Obviously, this simplistic interpretation I is not well at all and I will try to dig up a work certainly not essential, but enjoyable, and to all intents and purposes part of the cinematic history of that country.

The film also released in the U.S. market in a dvd now unavailable, on behalf of the celebrated label never too Casanegra with the title of The Curse of the Crying Woman was born as a genuine attempt at South American Gothic. Although the estimators Mexican horror give proper emphasis to the unique character and cultural journey well separated from the rest of the world of local authors, there is no denying that this film is due for some ideas with a lot of contemporary European cinema. It is not in fact a most relevant example of the singularity represented by the Mexican horror film, because it shows several points of overlap with a classic Gothic ours. The representation Llorona with the dogs in tow, dressed in black who wanders through the fog, it can not be random, as well as the general atmosphere made of mist and cars whizzing through the night are quite unusual for the South American cinema.

The direct reference is with The Mask of the Demon (1960), the classic directed by Mario Bava, that as time goes on we discover what was most influential in the horror cinema all countries in which it was distributed. Singular is the short for which he always found myself talking as inspired by the story of Gogol that I fully spoken several times on this blog . This is also why I felt it right in full, because my memory had been buried at the bottom so much that I doubt whether I had never seen. Well, some distinctive features, have been taken so obvious, from the aforementioned look lady in black Llorona (Rita Macedo), which is the same as in the film Bava Barbara Steele, as well as the Great Danes on a leash by both actresses in their first shot. Added to this is also the part, I was very impressed in the Mexican film, Eye of the cable spectrum. This detail is also significant in Maldición and was probably an image of such power to strike even the Mexican director.

Director Rafael Baledón has therefore taken some elements of another film and tried to decline according to their culture. This process of regionalization of the product is more common than you think in the history of cinema and it is often to make up for the shortcomings of the product exported nell'attecchire the local public. It 'clear that the Llorona that Mexicans know as children would certainly have been most successful in those places compared to a witch of the Russian steppes led by an Italian. It would also be unfair to compare the two films, as that ours is hard to beat the master at the technical level. His proverbial camera movements and his well-known visual experiments in photography are now all the wealth of world cinema and they were so advanced, as is well known that his skill was recognized with shameful delay in our country. It would therefore be unfair to expect the moon from Baledón good while. It has directed much of school, it gives us a film that is delightfully close to the classic British Hammer pictures of the theatricality of the frame and for exploitation of the interior.

One might ask then what is so Mexican this is considered in all respects one of the best classics of the gothic genre. The answer is not in the linear plot concerns a family curse, common to many other Gothic tales, by which the poor Amalia (Rosita Arenas) has to deal, but first of all in the very presence of the Llorona. As mentioned above one can not ignore the history of the figure, because the ghost in this film is easily merged with the figure of Malinche. In the didactic story that makes the possessed Aunt Selma (Rita Macedo) shows a portrait of a woman clearly Azteca and appealed precisely Doña Marina. Symptomatic of the typical vision of the sixties are the words spoken by Macedo:

"It was scary because he wanted power. All sacrificed to achieve it. Even despised love. "

are fully in line with the mixture of fascination and hatred for an unnatural mother and it would be difficult to understand what I mean, if you was aware of the story. You can then give up the aesthetic features of traditional ghost clad in white, but not to its more intimate nature that is alive in the education of every Central. You can not separate the tragic story of the creature, as you will ever insist on foreign characters, not least the attempt to bring it back to life in ways similar to those of the witch from The Mask of the Demon or subtracting the lives of young women for a new reincarnation.

The film is then typically Mexican even make a special milkshake all over the film and psychotron available in those years. You throw in a Gothic mansion in the Mexican desert, hypnotism made Voodoo dolls, a lame man with his face disfigured servant, played by the great Carlos López Moctezuma favorite actor for the roles of villain, and not least a wonderful monster in the attic trick. Call missing a few wrestlers, but obviously he undermined the success of the film and not be said that the directors of these films were not aware of the pop factor and irony of their presence in the films. Among the actors feel I have to quote bambacione Abel Salazar, subscriber horrific roles in those years and which will certainly come back, who plays the husband of Rosita Arenas, and in a brief role Julissa known Mexican pop star and performer of popular telenovelas, like as one of the first cuts of that Wild at Heart (Corazón salvaje ), who went mad in the version of the 80's here too.

Technical

The maldición de la Llorona

Year: 1963

Directed by: Rafael Baledón

Screenplay: Rafael Baledón, Fernando Galiana

Cast:

Rosa Arenas - Abel Salazar Amelia

- Jaime

Rita Macedo - Selma

Carlos López Moctezuma -

Juan Enrique Lucero - Dr. Daniel Jaramillo

Julissa - female passenger of the coach (as Julissa del Llano)

Roy Fletcher

Arturo Corona

Armando Acosta - Other passenger

Victorio Blanco ;

Beatriz Bustamante - Witch

1. In fact, the cable eye and torture of the eyes themselves are a bit 'Baviana an obsession and it returns the whole of the film from when they begin to fill and pulsate with white, while the witch tries to return life to as to eliminate the vampire must pierce the eyes. These particular strike me deeply because I have deep anxiety whenever they are targeted in the eyes of scary movies. Following two catches by Italian film, released in South America with the title of the devil Mascara, which should dispel any doubt as to the borrowing of ideas in the Mexican film.

2. In this regard I have found some significant covers made by the great Jose Guadalupe Posada a series of Mexican history books for children written by Heriberto Frias. Here there are a couple dedicated to the key figure of Malinche, but also another in a classic event in the history of colonialism or the fall and destruction of Tenochtitlan (capital of the Aztec Empire) by the English invaders, who was heralded by the appearance of a woman dressed in white according to the commentaries of the time, shouting desperately seeking their children just like the Llorona. This is to underline how the historiography and the political will of the Mexican nation were very strong in shaping the culture to come.