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Nueve Canciones Nueve Canciones (9 SONGS) Nº 279 (MAYO 2009) SINOPSIS Un verano, dos personas, ocho grupos, nueve canciones… Matt cono- ce a Lisa en un concierto de Black Rebel Motorcycle en Brixton Aca- demy y se enamora de ella. Ambos desarrollan su relación a través de encuentros sexuales ligados a la música y los grupos, hasta las navi- dades, cuando Lisa regresa a Estados Unidos. FICHA ARTÍSTICA Matt..........................................................................KIERAN O'BRIEN Lisa........................................................................... MARGO STILLEY ICHA ÉCNICA F T Duración......................... 69 min. Dirección ......M. WINTERBOTTOM Fotografía ...... MARCEL ZYSKIND Nacionalidad............ Reino Unido Productora .....................NOMBRE Montaje ........ MAT WHITECROSS Año de Producción .............. 2004 Productor...........ANDREW EATON Sonido ................TRISTAN ANIKA (Color) .....................M. WINTERBOTTOM Casting .................. STEVE DALY EL DIRECTOR: MICHAEL WINTERBOTTOM Nacido el 29 de Marzo de 1961 en Blackbum, Inglaterra, fue un estudiante brillante y avanzado, que asistiría a Oxford para luego seguir estudiando en la escuela de cine de la universidad de Bristol. Su carrera como cineasta comenzó en la televisión dónde dirigiría capítulos de diversas series, películas para la pequeña pantalla y algunos documentales, entre los que destacaban los que dedicó a la figura de Ingmar Bergman. Con la película Besos de Mariposa (1994) establecería sus principios fílmicos con un estilo naturalista caracte- rístico que remarcaba con el uso de música pop. Con Jude (1996) una adaptación de la novela Jude the Obscure lograría el reconoci- miento internacional, proyectando en Cannes y recibiendo numero- sas ofertas para dirigir en Hollywood. En 1999 se aventuró a rodar sobre diálogos improvisados en Wonderland, técnica que repetirá más tarde en films como Nueve Canciones. Antes de esto, Winterbot- tom recibió el reconocimiento en forma de premios con la película En Este Mundo que recibió entre otros, el Oso de Oro y el premio BAFTA a la mejor película en lengua no inglesa. En 2006 volvería a la polé- mica con Camino a Guantánamo, también con notable éxito. FILMOGRAFÍA PRINCIPAL DEL DIRECTOR GALARDONES 1989 Rosie the Great (TV) 1999 Wonderland (Rosie the Great) (Wonderland) 1990 Olvídate de mi 2001 El Perdón FESTIVAL DE (Forget About Me) (The Claim) 1992 Under the Sun 2002 24 Hour Party People SAN SEBAS- TIÁN (Under the Sun) (24 Hour Party People) 1993 Love Lies Bleeding 2003 En Este Mundo 2004 (Love Lies Bleeding) (In This World) (52ª Ed.) 1994 Besos de Mariposa 2003 Código 46 (Butterfly Kiss) (Code 46) 1995 Go Now (Amo la Vida) 2004 Nueve Canciones Mejor fotografía (Go Now) (9 Songs) (Marcel Zyskind) 1996 Jude 2006 Tristram Shandy (Jude) (Tristram Shandy) 1997 Bienvenido a Sarajevo 2006 Camino a Guantánamo (Welcome to Sarajevo) (The Road to Guantanamo) 1998 I Want You 2007 Un Corazón Invencible (I Want You) (A Mighty Heart) 1999 Contigo o Sin ti. 2008 Genova (With or Without You) (Genova) COMENTARIO Hay muchas formas de valorar y medir las relaciones afectivas fundamental de la componente artística de la película, requi- humanas, y como tantas versiones diferentes existen, hay otras riendo su propio espacio y reclamando un derecho incensurable tantas formas de mostrarlas. 9 Canciones propone una visión de por natural y humano. Y se trata de un sexo real, sin disimulo, las consecuencias y no de las causas a través de dos puntos, incluyendo penetración, felaciones y cunnilingus, pero también aparentemente nada relacionados: la música y el sexo. La histo- gemidos, jadeos y susurros, la erótica del lenguaje verbal, de las ria de esta película nace cuando su director, un siempre intere- miradas picaronas y, en definitiva, de todas las componentes, sante Michael Winterbottom, leía la novela Platform de Michel más o menos banales, en que se desmiembra una relación cual- Houellebecq, en la cual se describe, de forma explícita, las rela- quiera. Con esto se abre un debate acerca de lo púdico e impú- ciones que un francés mantiene en un viaje de turismo sexual a dico o de lo obsceno y lo cohibido que, en caso alguno, debe ser través de Tailandia. La forma de presentar los elementos sexua- la piedra angular de 9 canciones, pero que está ahí y ha servido les, tan específicos y tan explícitos, hicieron reflexionar al direc- la polémica en medio mundo. La base de la cinta es otra, el sexo tor británico acerca de porqué el cine, con todas sus posibilida- es sólo un medio más, una forma diferente de contar una misma des, se cohibía frente al sexo cuando la literatura era capaz de historia desde otro punto de vista. La diferencia es que antes mostrarlo en toda su belleza. A partir de esta idea nace 9 can- primaban los porqués y ahora éstos han quedado relegados a un ciones, en la que a lo largo del metraje se nos presentará la his- segundo plano por la importancia de la intimidad y de cómo se toria de dos personajes que mantienen una relación sentimental, manifiestan en ella las diversas aptitudes de la cotidianidad, sin contada desde el comienzo de dicha unión, hasta la separación que ésta pase por ser poco más que un desayuno desnudos, un de ambos. Para ello, Winterbottom se centra en estudiar los baile o una excursión a la playa. A partir de esta declaración, momentos más íntimos de la pareja y cómo éstos van transfor- podemos explorar el alma de la relación, la psicología de unos mándose a medida que muta la relación: desde la poco inocente personajes que se construyen a sí mismos y que giran con la ternura de los primeros besos, hasta la intensidad emocional del propia evolución de la pareja, reflejando actitudes de fundamen- último polvo. Entre medias, nueve canciones sirven como hilo tos y resoluciones desconocidas, pero perfectamente mostradas conductor paralelo, con nueve temáticas de acorde con el mo- en la intensidad o el tipo de sexo que mantienen los personajes. mento de la relación y su estructura emocional. Comienza con El resto son pinceladas que remarcan lo presentado, las trans- Whatever Happened to my Rock ‘N’ Roll de Black Rebel Motorcy- gresiones, la desviación de lo convencional unido a la apatía, el cle (que repetirán al final de la cinta), una auténtica y profunda miedo a lo monótono, en definitiva, sensaciones y circunstancias declaración de intenciones con la que se presentan (y conocen) comunes a cualquier relación humana, más allá incluso de la Lisa y Matt, tras ésta, Von Bondies, Franz Ferdinand o Michael propia pareja. Finalmente, antes de pasar a ver 9 canciones, Nyman, darán color y servirán de preludio a las relaciones debemos hacer un último alto para homenajear a una pareja de sexuales (o no) que los dos personajes mantienen a lo largo del actores valiente y arriesgada como medio transmisor fundamen- film y que Winterbottom nos muestra de forma absolutamente tal de la historia. Especialmente la labor interpretativa de Margo explícita, sin dejar detalle a la timidez y, a pesar de ello, sin Stilley, encarnación perfecta de las profundas heridas de la apa- resultar soez ni pornográfico. De hecho, el sexo es una parte rente superficialidad y verdadero punto de conflicto emocional. riendo SOBRE EL REPARTO KIERAN O’BRIEN MARGO STILLEY Nacido en Rochdale, Inglaterra, creció en los alrededores de Nacida en noviembre de 1982 en Bear Creek, Carolina del norte, Royton, comenzando su carrera como actor desde muy joven, de comenzó su carrera cinematográfica con la interpretación de forma que se convirtió en una de las estrellas de la BBC con la Lisa en Nueve Canciones, papel por el que fue duramente criti- cada, debido a las imágenes de sexo explícito que se mostraban serie Gruey a la edad de quince años. Durante años se mantuvo en televisión con papeles como el de Craig Lee en las series Co- en la película. Debido a la controversia generada, Stilley llegó a ronatio Street y Chilren’s Ward o como detective en la exitosa pedirle al director, Michael Winterbottom, que en las entrevistas Cracker. Su primera película fue Virtual Sexuality (1999, Nick relacionadas con el film, se refiriese a ella por el nombre del Hurran), un film sin demasiado éxito. Sin embargo, en 2004, su personaje al que interpretó y no por el suyo propio. Tras el es- nombre saltaría a los medios internacionales por su papel en carnio al que fue sometida, sopeso abandonar el mundo de la Nueve Canciones, siendo uno de los pocos actores que ha apare- interpretación, sin embargo finalmente ha tenido varios papeles cido eyaculando en una producción comercial no pornográfica. después de Nueve Canciones. Entre ellos destaca un nuevo pa- En 2006 O’Brien pondría la voz al documental Camino a Guan- pel polémico, el que interpreto para el film de terror Reverb tamo (Michael Winterbottom) y actualmente continúa trabajan- (2007, Eitan Arrusi). Además participó en los rodajes de How to do, principalmente, en televisión. Lose Friends & Alienate People (2008, Robert Weide) y Hippie Hippie Shake (2009, Beeban Kidron). LA CRÍTICA OPINA Parecería como si Michael Winterbottom tuviera como especial apuesta, a la hora de construir su discurso, la ruptura de los límites habituales de lo que se puede decir en cine. (..) la verdadera apuesta narrativa de la película no es otra que el plasmar el día a día de dos amantes, de dos jóvenes de hoy mismo, su cotidianidad aplastantemente banal (¿pero es que hay alguna que no lo sea?), sólo apta para quienes la viven, no para quienes la contemplan. M. Torreiro-Diario El País www.auladecine.ulpgc.es .
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