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Alexander Sokurov Y Fausto

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Alexander Sokurov Y Fausto F u n d a ció n P ROA PROA FAUSTO Alexander Sokurov CINE PREESTRENO EN ARGENTINA: Press kit Noviembre 24 / Diciembre 1º / 18 hs. Auditorio Proa F u n d a ció n P R OA Av. Pe d r o d e M e n do z a 1929 [C1169 A A D] B u e n o s A i r e s Argentina – [+5 4 11] 410 4 10 0 0/10 01 [email protected] www.proa.org - FUNCIONES Sábados 24 de noviembre y 1º de diciembre / 18 hs. - La película será estrenada en salas del circuito comercial a fines de diciembre de 2012 por Lat-e y Zeta Films, con el auspicio de Bagual Films - Departamento de Prensa [email protected] [+54 11] 4104 1044 Sinopsis Comentario del director Fausto no es una adaptación cinemato- “Fausto es la última entrega de mi tetralo- gráfica de la obra de Goethe en el sentido gía cinematográfica acerca de la natura- habitual de la palabra, sino una lectura de leza del poder. Los personajes principales lo que queda entre líneas. ¿De qué color en las tres películas anteriores son figu- es un mundo que da a luz ideas tan colo- ras históricas reales: Adolf Hitler (Molock, sales? ¿A qué huele? El universo de Faus- 1999); Vladimir Lenin (Telets, 2000), y el to es sofocante: ideas que harán temblar emperador Hirohito (Solntse, 2005). La el mundo nacen en el espacio reducido imagen simbólica de Fausto completa esta en el que se mueve. Es un pensador, un serie de grandes jugadores que perdieron portavoz de ideas, un transmisor de pa- la mayor apuesta de su vida. labras, un maquinador, un soñador. Un Fausto es un personaje literario, casi hombre anónimo empujado por instintos museístico, que habita una trama sencilla básicos: el hambre, la codicia, la lujuria. y que no parece encajar en esta galería de Una criatura infeliz y perseguida que plan- retratos. ¿Qué tiene en común con estos tea un reto al Fausto de Goethe. ¿Por qué hombres de carne y hueso que alcanzaron contentarse con el momento si se puede el pináculo del poder? Un amor por palabras ir más allá? Cada vez más allá, siempre fáciles de creer y una vida diaria patológica- hacia delante, sin darse cuenta de que el mente desdichada. El mal es reproducible, y tiempo se ha detenido. Goethe supo formular su esencia: ‘Las per- sonas infelices son peligrosas’”. – – Fausto / Alexander Sokurov [email protected] pág 1 [54 11] 4104 1044 F u n d a ció n P ROA y Thomas Mann. Goethe se sentía muy libre en relación con la leyenda. En mi opinión, Goethe no era un hombre del siglo XVIII sino quizás del XXIII. Su vínculo con la cultura medieval que vio nacer a la leyenda es muy discutible, aunque existe y se halla en el lenguaje, a través de ciertas características de la lengua alemana, la brutalidad, el dra- matismo…Entramos en la obra de Goethe luchando contra una especie de antigua ri- gidez de la lengua. Debemos ser conscientes del tiempo que necesitó Goethe para crear sus dos obras: casi cincuenta años. Las obras literarias en raras ocasiones surgen de la velocidad. Goethe se tomó su tiem- po para situarse por encima de la leyenda y asentar las bases de un nuevo mito. Cuando nos veamos confrontados realmente a los problemas climáticos, cuando la vida de las personas sea todavía más difícil a causa de la crisis económica, Fausto volverá a leerse. ¿Cuál fue el punto de partida de su adaptación? Yo llevo a cabo una obra visual, la distancia con la obra literaria es un gran problema. Una de las cuestiones fundamentales es la del detalle. Goethe tenía una capacidad única para no mencionar los detalles: no sabemos nada de la vida de Fausto. Y sin embargo dibuja una personalidad sorpren- dente, gigantesca, una especie de monolito. ¿Por qué? Porque no para de hablar. En los espectáculos que han adaptado Fausto, en Ficha técnica Entrevista a todos los teatros del mundo, el personaje agota al espectador con su verborrea, es Fausto (Faust). Rusia, 2011, 134 minutos Alexander Sokurov una metralleta de frases sabias. Imagine LAT-E asociada con ZETA FILMS y BAGUAL ese encadenamiento de fórmulas filosófi- Reparto cas pronunciadas con la grave entonación Fausto JOHANNES ZEILER Fragmentos de la entrevista realizada por de la lengua alemana: el espectador no Prestamista ANTON ADASINSKI Cyril Béghin (“Des cicles et des hommes”, sabe dónde esconderse, y abandona la sala Margarita ISOLDA DYCHAUK en Cahiers du cinéma, nº 633, enero de sin haber comprendido quién era Fausto. Wagner GEORG FRIEDRICH 2011). Traducción: Esmeralda Barriendos Esta ha sido mi tarea fundamental: in- Esposa del prestamista HANNA SCHYGULLA tentar construir al hombre, dar mi versión Madre de Margarita ANTJE LEWALD De paso por París con motivo de la retros- del mismo. Así que me dediqué a profundizar Valentín FLORIAN BRÜCKNER pectiva que le ha dedicado el Jeu de Paume, en su biografía, algo difícil para un personaje Padre de Fausto SIGURDUR SKULASSON Alexander Sokurov habla de su última pelí- mitológico. Un cineasta debe entretenerse Amigo de Valentín MAXIM MEHMET cula, una adaptación de Fausto. en esta tarea, porque lo que se muestra en la pantalla es una persona de carne y hueso. Equipo técnico Está terminando un Fausto que se inscri- (…) Fue un gran problema saber cómo Director ALEXANDER SOKUROV birá en el ciclo formado por los retratos de era, cuál era su carácter. Fue necesario en- Guión A. SOKUROV y MARINA KORENEVA dictadores junto con Moloch, Taurus y Sol- contrar a su padre y a su madre, sin ellos no Basado en una historia de YURI ARABOV ntse. ¿Es Goethe el punto de partida? ¿Cuál hubiera sido posible creer en él. A Goethe Productor ANDREI SIGLE es la distancia respecto del mito original? no le interesó nada de esto, sólo le intere- Fotografía BRUNO DELBONNEL Existe una gran distancia, del mismo modo saron sus pensamientos, su cabeza vola- Diseño de producción ELENA ZHUKOVA que existía una gran distancia entre la le- dora… pero, ¿qué hay bajo esta cabeza? Montaje JÖRG HAUSCHILD yenda y la obra de Goethe. El Fausto que me ¿Cómo se viste? ¿Qué come Fausto? Diseño de vestuario LIDIA KRUKOVA sirvió como base en primer lugar es la obra Maquillaje TAMARA FRID de arte inventada y escrita por Goethe. En Ese es el problema, como pasar del mito Música original ANDREI SIGLE un primer momento llegó a titularse Goethe a la vida. - – Fausto / Alexander Sokurov p r e n s a @ p r o a.or g pág 2 [ 5 4 1 1 ] 4 1 0 4 1 0 4 4 F u n d a ció n P ROA Se trata de un movimiento a la inversa que en tes también. Cuando el cine busca la expre- comete errores que no comprende. Incluso otras películas del ciclo, donde el punto de sión del sentido filosófico, se manifiesta la una persona tan educada e inteligente como partida son personajes que habiendo existi- falta de medios de los realizadores: el arte Fausto, ese monolito, comete errores por falta do en la historia llevan a indagar en lo mítico. es carencia, en el sentido más profundo. de juicio. ¿No ha sabido Fausto valorar la situa- En las películas precedentes también Muchos cineastas no consiguen avanzar un ción? ¿Se ha equivocado?¿Cómo es posible? partí del mito para llegar a la persona real. solo paso en su evolución, y por este motivo ¡Pero si es Fausto!, ¡si es Fausto…! La mitología de Hitler, Lenin o Hirohito no sus películas adolecen de un voluntaris- Esta es la primera intención del film, la me interesaba. La estética mitológica era mo absoluto, los realizadores codifican la más superficial, que no pretende una lec- la parte más simple y primitiva de estos su- imagen, aceleran el montaje, rellenan el en- tura completa de la obra. Me gustaría sobre jetos, y además pertenece al ámbito de la cuadre con objetos y cuerpos que deberían todo que la gente tuviera ganas de leer las literatura, no puede traducirse visualmente, tener un significado con su sola presencia. obras de Goethe. Yo, el realizador Sokurov, sí formalmente, aunque esto sería atacar el Eso es todo, no pueden hacer nada más. soy un pobre hombre que arroja esta pie- corazón de la literatura, es mejor no hacerlo. Y la emoción continúa sin ser expresada. dra para que vaya lo más lejos posible. Si Al mirar a Hitler, sólo quiero ver qué tiene en puedo despertar la curiosidad del espec- común con nosotros, hoy, sin juzgarlo pero ¿Cómo abordar la vida de este personaje? tador, habré cumplido con mi tarea. (…) para comprender… ¿Por qué el poder se ha- Es la primera vez que hablo de la película du- lla en manos de hombres desgraciados? rante tanto tiempo, todavía no se muy bien qué ¿Cómo se desarrolla un proceso de El lenguaje cinematográfico no se ha de- decir. Rechacé hacer de él un concentrado de adaptación tan delicado? ¿Prima el tra- sarrollado lo suficiente, sus capacidades pensamientos filosóficos…ninguna alusión, bajo sobre el relato? ¿Hay visiones, siguen siendo demasiado modestas para ninguna demostración filosófica. Hemos ele- imágenes que señalan una dirección? abordar grandes ideas. Todavía está lejos gido mostrar la historia humana, vemos a un Para mí, una película es un árbol que hay que de igualarse a las grandes obras de la lite- hombre en la pantalla. Esto sucede en una dejar crecer. Cuando lo vemos salir de la tie- ratura. El cine es un buen instrumento para época indeterminada.
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