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El Cine Iraní Es, Sin Duda, Uno De Los Más

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El Cine Iraní Es, Sin Duda, Uno De Los Más MAKING OF El cine iraní es, sin duda, uno de los más pro- minentes en Oriente Medio, y tiene una gravedad y una autenticidad de las que, en general, carece el cine comercial actual. Globalmente, ofrece un punto de vista alternativo al cine hollywoodiense El cine proveniente de Irán es un gran desco- en lo estético, en lo temático y en lo narrativo. nocido para el público en general, no así para el cinéfilo. Porque en un país donde el séptimo arte En el cine iraní advertimos tres característi- no es fácil, el cine iraní se ha ganado su prestigio cas particulares: la implicación del espectador para a paso, película a película: en parte, gracias por el uso del fuera de campo, la preocupación al reconocimiento recibido en los festivales inter- por la situación de la mujer, que vive “secuestra- nacionales de cine en las últimas dos décadas da” bajo un régimen dictatorial y, por último –y (aunque su despunte comenzó después del triun- sobre todo– , la importancia de la mirada de los fo de la Revolución Islámica de 1979) y, en buena niños, unas miradas limpias con las que preten- medida también, debido a la numerosa y dinámi- de identificarse el ojo de la cámara para mostrar ca comunidad iraní en Estados Unidos, concen- y demostrar historias. Y en este artículo revisa- trada en torno a Los Ángeles (y conocida como mos un conjunto de directores iraníes y algunas “Therangeles” en el argot local). Y también, cómo películas para “prescribir” y sentir el cine que no, porque los herederos del antiguo imperio per- mejor trata la infancia en su filmografía. Y por sa han amados su cine, tanto como su tradición una sencilla razón: porque esos niños y niñas poética. que nos dibujan sus historias no son actores ni actrices, sino ellos mismos en muchas ocasio- Toda una historia ascendente, a pesar de los nes. dos mayores retos a los que se enfrente una in- dustria así en un país de estas características: la Estas películas, destacadas por orden crono- falta de infraestructura y la censura. El régimen lógico, son iraní es una teocracia donde, desde 1979, impera (Abbas Kiarostami, 1987), (Jafar la , la ley y jurisprudencia islámicas que Panahi, 1995), (Abolfazl Jalili, 1996), prohíbe ciertas ideas, imágenes e imaginarios. Y (Majid Majidi, 1997), estos revolucionarios miraron con desconfianza (Jafar Panahi, 1997), (Mohsen Makh- la industria cinematográfica como símbolo de co- malbaf, 1997), (Samira Makhmalbaf, rrupción cultural. Fue a partir de 1982 cuando el 1998), (Abolfazl Jalili, 1998), cine iraní comenzó a surgir de sus cenizas, pero (Majid Majidi, 1999), (Samira lo hizo con una industria que creció de forma bi- Makhmalbaf, 2000), polar: una predominante insípida industria nacio- (Marziyeh Meshkini, 2000), nal que busca expresar la ética del Islam y la his- (Bahman Ghobadi, 2004) y toria del Estado Iraní, llena de melodramas insípi- (Hana Makhmalbaf, 2007), dos y apocalípticos, junto con unas minoritarias entre otras. Bienvenidos a la belleza y la refle- producciones que buscan criticar el peso abru- xión del cine iraní en los ojos de sus niños prota- mador de la vida cotidiana bajo el yugo de los clé- gonistas. rigos y la guardia revolucionaria. 9 MAKING OF Año Título Director 1 987 ¿Dónde está la casa de mi amigo? Abbas Kiarostami 1 995 El globo blanco Jafar Panahi 1 996 A True Story Abolfazl Jalili 1 997 Niños del paraíso Majid Majidi 1 997 El espejo Jafar Panahi 1 997 El silencio Mohsen Makhmalbaf 1 998 La manzana Samira Makhmalbaf 1 998 Don Abolfazl Jalili 1 999 El color del paraíso Majid Majidi 2000 La pizarra Samira Makhmalbaf 2000 El día que me convertí en mujer Marziyeh Meshkini 2004 Las tortugas también vuelan Bahman Ghobadi 2007 Buda explotó por vergüenza Hana Makhmalbaf El cine iraní es, sin duda, uno de los más pro- Pocas cinematografías como la iraní han uti- minentes en Oriente Medio, y tiene una gravedad lizado tanto y tan bien a los niños y las niñas en y una autenticidad de las que, en general, carece sus películas. En este artículo citaremos algu- el cine comercial actual. Globalmente, ofrece un nas bellas películas, que son recomendables pa- punto de vista alternativo al cine hollywoodiense ra cualquier amante del buen cine (o de un cine en lo estético, en lo temático y en lo narrativo. diferente), pero que también contienen imáge- En lo estético porque apuesta por una depura- nes de dureza y desamparo, que reflejan poéti- ción de la imagen que prescinde de cualquier ti- camente unas situaciones sociales difíciles y po de efectivismo y superficialidad; en lo temá- que son reales, y de cuya crudeza no escapa la tico porque bucea en la sencillez de la vida coti- infancia. Los niños y las niñas protagonizan mu- diana y rehúye la violencia por la violencia, la ra- chas de las historias cinematográficas que, en pidez por la rapidez; y en lo narrativo porque par- las últimas dos décadas, han conformado la par- te de unos modelos de guion y de héroes al mar- te más conocida de la denominada gen de los patrones clásicos y próximos a la vi- , y en la que destacan los nombres de di- da real. Se podría decir que lo más parecido en rectores como Abbas Kiarostami (la figura más Occidente al cine iraní contemporáneo lo encon- representativa e internacional, de cuya escuela e tramos en el neorrealismo italiano. Ofrece una influencia surge buena parte de los demás direc- mirada transparente, sencilla, cotidiana, pero no tores), Abolfazl Jalili, Bahram Beizai, Reza Mirka- exenta de espíritu crítico. Un redescubrimiento rimi, Mariam Keshavarz Darius Mehjui, Khosrow de la naturaleza, de los gestos, del color y de las Hatitash, Jafar Panahi, Majid Majidi, Bahman metáforas visuales y sonoras. Gohbadi, y la extraordinaria familia Makhmabalf (un caso extraordinario dentro del séptimo arte: En el cine iraní advertimos tres característi- Mohsen, el padre, fundador de la Makhmalbaf cas particulares: la implicación del espectador Film House; Marziyeh, la madre, y Samira y May- por el uso del fuera de campo (hay mucho cine san, las dos hijas, dos casos de niñas directoras alrededor de la pantalla que el espectador debe que fueron u verdadero revulsivo en los festiva- incorporar con su imaginación); la preocupación les de cine). Y más recientemente otros nom- por la situación de la mujer, que vive “secuestra- bres como Asghar Farhadi, quien obtuvo el Oso da” bajo un régimen dictatorial y sometida en to- de Oro de Berlín y Oscar a la mejor película de dos los niveles imaginables (religioso, político, habla no inglesa por (2011). Una social, cultural, económico); y, por último –y so- lista no exhaustiva de directores que nos sirve bre todo–, la importancia de la mirada de los ni- como introducción para revisar algunos directo- ños, unas miradas limpias con las que pretende res y películas clave para entender la belleza y la identificarse el ojo de la cámara para mostrar y reflexión del cine iraní en los ojos de sus niños y demostrar historias. niñas protagonistas. 1 0 MAKING OF Y por ello queremos reivindicar (y para algu- nos lectores, descubrir) el valor del cine iraní, ese bello desconocido que fue muy importante En enero del año 2010 nació en el blog ya en los inicios de y que sigue el proyecto siéndolo. Y cuyo análisis más pormenorizado lo . Un proyecto cuyo objetivo inicial era dar realizaremos en cuatro secciones: valor a la capacidad docente del cine en nuestra profesión médica, utilizando películas que tie- • La mirada de la infancia en el cine iraní (1): nen a la infancia y adolescencia como protago- el minimalismo de Abbas Kiarostami. nista de las mismas1,2. De ahí el título del pro- yecto. Y, aunque en un primer momento, los prin- • La mirada de la infancia en el cine iraní (2): cipales destinatarios de este proyecto eran los el extraordinario caso de la familia Makhmalbaf. pediatras, enseguida se apreció que también se podía aplicar a cualquier profesional sanitario y • La mirada de la infancia en el cine iraní (3): también a los educadores, los padres y fami- el mundo de las niñas y mujeres lias… y, claro que sí, a los amantes del cine. El según el prisma de Jafar Panahi. subtítulo de es “ • La mirada de la infancia en el cine iraní (4): ” y de ahí su objetivo clave: que sobre paraísos, tortugas y otras historias. nos atrevamos a “prescribir” películas a nues- tros estudiantes, residentes, compañeros sanita- rios, pacientes y familiares, pero también a nues- tros alumnos y a nuestros hijos y nietos3. Ha pasado una década y, desde entonces, to- dos los sábados ha publicado un en el blog, hasta un total de 540 en el mo- mento de escribir este texto. Unos que se Abbas Kiarostami, nacido en Teherán y nunca han difundido de forma muy importante desde la alejado de su país, representa la figura más re- bitácora a las diferentes redes sociales, especial- presentativa de la primera ola de la conocida co- mente por los grupos de Facebook de pediatría y mo . Se considera el mejor y pri- de cine, cuya aceptación y eco más importante mer embajador del cine iraní en el mundo. El cine cabe atribuirlos a esa capacidad de unir ciencia, de Kiarostami es un elogio a la sencillez, con fres- arte y conciencia. Por ello, y especialmente en los cura, fuerza y franca simplicidad. Es un despren- últimos años, el proyecto forma parte de conferen- dimiento constante que procura recortar las ac- cias inaugurales o de clausura de numerosos con- ciones, los personajes y la continuidad el relato.
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