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Redalyc.JEAN-MARIE STRAUB Y DANIÈLE HUILLET: EL CINE Quintana. Revista de Estudos do Departamento de Historia da Arte ISSN: 1579-7414 [email protected] Universidade de Santiago de Compostela España González Rodríguez, Xurxo JEAN-MARIE STRAUB Y DANIÈLE HUILLET: EL CINE "NO RECONCILIADO" SEGÚN PEDRO COSTA Quintana. Revista de Estudos do Departamento de Historia da Arte, núm. 4, 2005, pp. 249-252 Universidade de Santiago de Compostela Santiago de Compostela, España Disponible en: http://www.redalyc.org/articulo.oa?id=65323990016 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto JEAN-MARIE STRAUB Y DANIÈLE HUILLET: EL CINE “NO RECONCILIADO” SEGÚN PEDRO COSTA Xurxo González Rodríguez Universidade de Santiago de Compostela La mejor película que se hizo nunca sobre el cine y el montaje. Una película muy bella. Jean-Luc Godard La génesis de este artículo hay que buscarla drar a estes baluartes infranqueables del desa- en el intento de analizar la película con la que el rrollo de la imagen cinematográfica. Esta ten- director portugués Pedro Costa profundizó en el dencia creativa, a contrapelo de la corriente trabajo conjunto de los cineastas Jean-Marie cinematográfica dominante, hace que se hable Straub y Danièle Huillet, Onde jaz o teu Sorriso? del cine de los Straub (y adyacentes) como un (2004). Ante la imposibilidad de hacerse un sitio cine “no-reconciliado”2 o un cine de resistencia. en el enquistado sistema de distribución cine- Unos productos fílmicos que arrastran una plus- matográfico español pudimos acercarnos a ella valía consistente en que parten de una posición gracias a su reducida edición “de lujo”, 1000 moral contra el cine como industria, ejemplifi- unidades de un pack –con DVD y libro–, por cando, de este modo, lo que quiso decir Theo- parte de la editorial portuguesa Assírio & Alvim dor Adorno cuando denominó que “el valor de de Lisboa. Esta película adquiere el valor de una una obra de arte reside en su resistencia a la pequeña joya ya que sirve, de interfáz, de exce- mercantilización”. Con este discurso cinemato- lente vía de aproximación por la cual podemos gráfico extremo puede ser entendido si hace- llegar a entrever la verdadera esencia del arte mos referencia a una anécdota biográfica del “cinematográfico”1. propio Jean Marie Straub cuando, en noviembre Para llegar a hacer una película sobre este de 1954, a pocos meses de instalarse en París arriesgado y difícil tema Pedro Costa se sirvió de procedente de su Alemania natal y llevando la complicidad de dos mediums, los Straub unos pocos días en el instituto Voltaire –proto- (Jean-Marie y Danièle) para que, con el auto- etapa del IDHEC–, fue expulsado del centro análisis de su propio trabajo conjunto, poder durante tres semanas por ser el hombre que desenvolver un discurso próximo y accesible con más sabía en el mundo del cineasta más comer- el que materializar lo intrincado del dispositivo cial del cine del momento: Alfred Hichtcock. cinematográfico que emplean para expresarse. Curiosamente el pleno conocimiento de los Al hablar de esta pareja de cineastas nos mecanismos comerciales del cine fue el desarro- estamos refiriendo a una de las posturas más llo de la semilla de un cineasta llamado a hacer radicales, tanto éticas como ontológicas, del totalmente lo contrario. A pesar de esta contra- panorama cinematográfico. Si en un lado de la dicción puede verse el trabajo de los Straub cuerda se encuentra el cine comercial, la pro- como la destilación y la sublimación de las exce- ducción industrial, en el otro lado se encuentra lencias del lenguaje cinematográfico empleado estos cineastas, la postura más insobornable por Hichtcock. entre los llamados “creadores cinematográfi- El germen de Onde jaz o teu Sorriso? estu- cos”. Creo necesario comentar esta ubicación vo en Thierry Lounas, crítico de cine francés, porque si ya se considera aventurado hablar de quien sugirió a Pedro Costa realizar una pelícu- Syberberg, Oliveira o Godard, tenemos que la sobre los Straub mientras estos procedían a hacer un pequeño esfuerzo más, para encua- dar una “clase magistral” montando una terce- QUINTANA Nº4 2005. ISSN 1579-7414. pp. 249-252 250 Jean–Marie Straub y Danièle Huillet: El cine “no reconciliado” según Pedro Costa ra versión de Sicilia! (1999) en la presencia de obras platónicas. La temática de lección de cine los alumnos del Studio National des Arts Con- de los Straub a la que tenemos el privilegio de temporains de Le Fresnoy, en la ciudad francesa asistir es sobre el montaje. La exposición de de Lille. En un primer momento a la pareja de estos contenidos se organizan en base de discu- cineastas no le convenció la idea de la película, siones, comentarios, ideas, contradicciones y no querían desechar todo la entereza de sus discusiones. Unos elementos que condicionan el férreos principios para sucumbir ante las nego- trabajo de Costa pero que no se aleja de otros ciaciones mercantiles que imperan en el anver- trayectos por las fronteras del relato transitados so de su concepción cinematográfica. Un recelo por la filmografía de los propios “profesores” a 3 Xurxo González Rodríguez Xurxo lógico fundado en la disyuntiva basada en que lo largo de su filmografía pos-Oberhausen ; fil- era más barato producir un filme sobre ellos en mes con clara vocación de documento-ensayo vez de apoyar o comprar una de sus obras. El sobre la música barroca como Chronik der Anna proyecto fue apoyado por la cadena ARTE que, Magdalena Bach, 1967, lecciones de historia desde hace mucho tiempo, estaba interesada sobre Júlio César como Geschichtsunterricht, en dedicarle a los Straub un capítulo para su 1972, o filmes-conversación, a base de diálogos famosa serie Cineastas/cinéma, de notre temps. como Dalla nube alla resistenza, 1978, o la que Costa y los que iban a ser los protagonistas es motivo de análisis en la clase, Sicilia!, 19984. de su próximo film no se conocían. Los Straub Onde jaz o teu Sorriso? se constituye a través de valoraron la propuesta, leyeron la crítica en una estructura en la que se produce una per- Cahiers du Cinema de Emmanuel Baordau sobre fecta simbiosis de todas estas variantes, una sín- la anterior película del portugués, O Quarto de tesis que sirve a la vez de homenaje y de Vanda, y escucharon las buenas referencias que búsqueda de propósitos semejantes. les dio Jacques Rivette sobre el trabajo de Pedro Gracias al proceso de documentación que Costa. Finalmente los Straub pusieron como nos ofrece Costa nos acercamos a varios aspec- única condición para la película que no se tos que definen el binomio Straub-Huillet. Lo molestase de ningún modo ni a los profesores ni que más sorprende es el grado de vehemencia, a los alumnos. Esta prescripción iba a marcar a veces rayando lo cómico, que alcanzan en su definitivamente el rumbo del proyecto levantan- trabajo; defendiendo sus posturas, intercam- do una serie de restricciones que condiciona- biando impresiones, estableciendo los procedi- ban, en extremo, la misè-en-scène. El lugar mientos, negociando las actuaciones,… Una donde se desarrollan los hechos es un espacio intensidad y tensión que parecen salidas de un muy reducido; un aula donde hay una moviola matrimonio mal avenido pero que para nada que manipula Huillet, un breve espacio interme- son lastre para mostrar una unidad de criterios dio vacío por donde deambula Straub y, des- y funcionamiento, alcanzando, en algunas cues- pués, un aforo de una docena de alumnos. El tiones, indicios de extraordinaria sintonía. Una empleo de la mesa de montaje necesita de poca perfecta dialéctica entre la praxis del montaje luz, esta carencia y la limitaciones del espacio (Huillet) y las divagaciones teóricas (Straub). La llevaron a Costa a rodar todo con dos pequeñas película de Costa se mueve en base deste fértil cámaras digitales, situándolas; una, enfocando diálogo; encadenando una serie de reflexiones a la pantalla de la moviola, y la otra, en primera en torno a conceptos (autoría, idea, materia, línea de los alumnos. Inteligentemente Costa pensamiento, forma), cuestiones plenamente obvió, durante mayor parte del metraje, a los cinematográficas (relación de la imagen y el alumnos, de este modo, el contenido de Onde sonido, la verisimilitud, la manipulación de tex- jaz o teu Sorriso? es más directo, como si la tos, la puesta en escena) y, como no, anécdotas, clase de cine fuese impartida al propio especta- citas y evocaciones sobre distintos cineastas dor de la película. (Hitchcock, Rouch, Snow, Buñuel, Dreyer, Mizo- Este factor académico influye de manera guchi, Renoir). determinante en el discurso didáctico de la pelí- La disposición de estos contenidos nos cula a la que recuerda, salvando las distancias, a recuerdan a los documentales previos a la Nou- los esquemas sobre los que se construyen las velle Vague, sobre todo la excepcional serie de QUINTANA Nº4 2005. ISSN 1579-7414. pp. 249-252 Jean–Marie Straub y Danièle Huillet: El cine “no reconciliado” según Pedro Costa 251 “filmes de arte” de Alain Resnais. En ellos el hace realidad regida por las reglas del arte cine- cine quedaba prendado del labor creativo de los matográfico en las que, partiendo de una idea, genios de la pintura. Costa, hace algo parecido, se selecciona y se fragmenta una realidad, se se detiene en el espectáculo del montaje y en desestimán otras y con esa nueva materia obte- todas las cuestiones que en él convergen. Una nida se construye, con una nueva forma, algo vez más estamos asistiendo a una serie de coin- nuevo: Sicilia! de Straub y Huillet.
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