Donostiako 68. Zinemaldiaren Egunkaria Sansebastianfestival.Com Sábado 26 De Septiembre / 2020 | Nº 9 Diario De La 68 Edición

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Donostiako 68. Zinemaldiaren Egunkaria Sansebastianfestival.Com Sábado 26 De Septiembre / 2020 | Nº 9 Diario De La 68 Edición Donostiako 68. Zinemaldiaren Egunkaria Diario de la 68 Edición del Festival sansebastianfestival.com Sábado 26 de Septiembre / 2020 | Nº 9 Sábado, 26 de septiembre de 2020 Diario del Festival Sail Ofiziala Sección Oficial Official Selection 03 ASA GA KURU / TRUE MOTHERS • Japón Naomi Kawase (directora, guionista) “Only a mother’s La maternidad como salvación love can save the world” JAIME IGLESIAS (cuando su hijo tiene ya cuatro años) y en el pasado, sino abordar también True Mothers by the Japanese Hay cineastas que logran el recono- las circunstancias sociales y familia- director Naomi Kawase was cimiento y, desde ese instante, po- res que llevaron a la madre biológica the final film to be presented nen todo su empeño en mantener el del pequeño a darlo en adopción, así in competition in the Official estatus adquirido, refugiándose en como el trabajo desarrollado por la Selection this year. It is quite una zona de confort que les lleva a organización que gestiona dicho pro- different to Vision, which also reincidir en el tipo de propuestas que ceso. De este modo, Kawase cons- competed here for the Golden les han granjeado prestigio. Otros, sin truye un relato organizado en flash- Shell in 2018, but at the same embargo, están empeñados en con- backs, aunque la cineasta se mostró time it does reflect some of the servar su reputación arriesgándose renuente a usar dicho concepto: “Yo recurring themes in her work, en cada nuevo trabajo que ruedan, prefiero decir que mi película está or- such as motherhood. Via a probándose en registros diversos y ganizada en recuerdos porque los streaming connection from en historias diferentes. La japone- recuerdos tienen un valor subjetivo Japan, Kawase explained: “I sa Naomi Kawase pertenece a esta y permiten encadenar emociones”. think my fascination for this segunda categoría de directores y, Pero más allá de la estructura del subject comes from when I si bien es verdad que su filmografía film, la directora confesó que lo que was a little girl. My childhood atesora toda una serie de elementos la animó a rodarlo fue el hecho de que is closely linked to the island of que la definen y que hacen que sus “yo misma soy adoptada y cuando Amami Ōshima. An uncle of películas sean fácilmente reconoci- leí la novela de Mizuki Tsujimur en mine who lived there always said bles en su singularidad, no es menos la que se basa la película, me sen- ‘only a mother’s love can save cierto que cada nuevo largometraje Naomi Kawase habló desde Japón. GARI GARAIALDE tí muy concernida por lo que en ella the world.’ It was a phrase that que rueda difiere bastante en tono se contaba. Sobre todo, me intere- stuck in my mind, and I think that y forma de su trabajo precedente. la filmografía de la cineasta de Nara, da y creo que, por eso mismo, mis só la luz que desprende el persona- is why my films try to find the way Tal es el caso de True Mothers, la empezando por la maternidad. En co- películas intentan encontrar el modo je de Asato, el hijo, capaz de unir a to link maternal affection with a película que ayer presentó en el Fes- nexión online desde Japón, Kawase de vincular el afecto materno con un su madre biológica con su madre state of harmony and peace. tival y que pone punto final a la selec- manifestó: “Creo que mi fascinación estado de armonía, de paz”. adoptiva”. En este sentido, Kawase The story is organised in ción de títulos a competición. Se trata por este tema viene de cuando era True Mothers narra la historia de fue concluyente al afirmar que “las flashbacks, although the de un trabajo muy diferente a Vision, una niña. Mi infancia está muy ligada una pareja que decide adoptar un ni- relaciones maternofiliales no vienen filmmaker says: “I prefer to su anterior largometraje, con el que a la isla de Amami Ōshima. Allí vivía ño tras varios intentos infructuosos definidas por los medios económi- say that my film is organised in también compitió por la Concha de un tío mío que siempre repetía que por ser padres biológicos. El relato cos que podemos dedicar a la edu- memories, because they have a Oro; pero, al mismo tiempo, estamos ‘lo único que puede llegar a salvar al no sigue un orden cronológico y eso cación de nuestros hijos, ni por los subjective value and allow you to ante un film donde tienen cabida al- mundo es el cariño materno’. Fue una permite a Kawase contar no solo la lazos de sangre, sino que se crean string together emotions.” gunos de los temas recurrentes en frase que se me quedó muy graba- historia de dicha pareja en el presente en la convivencia diaria”. ANTIDISTURBIOS / RIOT POLICE • España • (Fuera de concurso) Rodrigo Sorogoyen (director, guionista, productor), Isabel Peña (guionista, productora ejecutiva), Eduardo Villanueva (guionista) Sofía Fábregas Bernar (productora), Domingo Corral (productor ejecutivo) Vicky Luengo, Raúl Arévalo, Álex García, Hovik Keuchkerian, Roberto Álamo y Patrick Criado (intérpretes) Isabel Peña: “Sencillamente generar Sorogoyen: “Buscaba la evolución conversación. Vivimos demasiado ins- talados en posiciones maniqueas”. El trabajo de documentación fue formal a lo largo de la serie” intenso y duró meses, y para ello con- taron con la colaboración de cuatro policías antidisturbios. “Fueron mu- GONZALO GARCÍA CHASCO y su compañera habitual en las ta- chas horas de conversación y cafés”, reas de guion, Isabel Peña, retornan explicó Peña, “y nos encontramos Ya no sorprende la proyección de una a terrenos conocidos al indagar en con cuatro seres humanos comple- serie completa dentro de la Sección la corrupción política, judicial y urba- tamente distintos”. También se les Oficial del Zinemaldia, aunque sea nística que, en este caso, implica a abrieron las puertas de la comisaría fuera de concurso. Menos aún si vie- las fuerzas de seguridad. de Moratalaz en Madrid. “Vimos dón- ne firmada por Rodrigo Sorogoyen, El primer episodio, cuyo punto cul- de trabajaban, dónde comían, dón- director de películas como Que Dios minante es la secuencia de una actua- de se duchaban… Nos atendieron nos perdone y El reino, que con ante- ción de los antidisturbios en un desahu- de manera muy generosa”. rioridad han competido por la Concha cio que terminará de manera trágica, es Domingo Corral, productor eje- de Oro con bastante éxito y notorie- una muestra del empaque, fisicidad e cutivo de Movistar, aseguró que las dad. A lo largo de los seis episodios impacto visual característicos de So- expectativas con respecto a la serie de Antidisturbios, Sorogoyen focaliza rogoyen. El empleo del gran angular son muy buenas, y no sólo en Espa- la atención en el día a día de un gru- es la seña de identidad: “Quería que ña. Han cerrado ya acuerdos para su po de policías antidisturbios, tanto el gran angular me acompañara a lo emisión en Francia y en América Lati- en su labor profesional, sin eludir la largo de este viaje. Pero sobre todo na, y las cosas están muy avanzadas brutalidad de sus actuaciones, como al principio, para ir dejándolo de lado en el resto de Europa. ¿Una posible en sus vidas personales, por lo ge- poco a poco, porque quería ir cam- Rodrigo Sorogoyen, director y guionista de la serie Antidisturbios. JORGE FUEMBUENA segunda temporada? Las puertas es- neral bastante miserables. Y añade biando de estilo. Buscaba la evolución tán más que abiertas. “Sí, queremos una segunda línea argumental, cen- formal a lo largo de la serie. Con eso demos tener con respecto a los anti- pero al menos hay que intentar com- hacer una segunda temporada, y lo trada en una policía de asuntos in- lo que pretendo es que el espectador disturbios y las fuerzas policiales son prender lo que significa este trabajo haremos si encontramos una historia ternos interpretada por Vicky Luen- vaya tomando distancia y liberándo- sin duda uno de los temas que se po- y lo que son también estas personas potente que contar. Ahora hay mu- go, que a la postre se convierte en se de prejuicios”, explicó Sorogoyen. nen sobre la mesa. Para el director, en sus casas. No sé exactamente chas series. Lo importante es que lo la gran protagonista de la serie. Con Precisamente, los prejuicios y las “es difícil explicar muchas de las ac- cuál, pero me gustaría que generara que hagamos no sea igual, que sea esta trama, el realizador madrileño ideas preconcebidas que muchos po- tuaciones que a veces llevan a cabo, debate”. A lo que añadió la guionista relevante”. Larunbata, 2020ko irailaren 26a 04 New Directors Zinemaldiaren Egunkaria Gal-Mae-Gi / Gull AMAIUR ARMESTO ria. Son temáticas que siempre me Luchar por tener voz han interpelado, y quise profundi- Gal-Mae-Gi / Gull es el primer largo- zar en los orígenes, en cómo fun- metraje de Kim Mi-jo (Jeonju, 1989), cionan. Además, si bien es cierto que llega a Zinemaldia tras su estreno guía muy de cerca a una mujer de que la sociedad coreana está cam- en el Festival Internacional de Cine mediana edad, que me recordaba biando mucho gracias a la acción de Jeonju en el que se alzó con el a mi madre. Sentí mucha ansiedad de varios movimientos sociales, la Gran Premio —Wavve Award— en y me mantuve alerta un buen ra- desigualdad y discriminación siguen la competición coreana. to, sin perderlos de vista. He sufri- arraigadas en lo más profundo de do varias agresiones sexuales en el nuestra sociedad y no es fácil en- ¿Cómo fue recibida la película en pasado —en el metro, en la calle y contrar una solución alternativa pa- Jeonju, su ciudad natal? en otros lugares— y sabía que algo ra un problema tan enquistado.
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