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Cine De Género En Asia: La Otra Mirada Álex Guerrero

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Cine De Género En Asia: La Otra Mirada Álex Guerrero Cine de género en Asia: La otra mirada Álex Guerrero El terror, el policial, las artes marciales y la comedia son algunos de los géneros más importantes en tierras como China, Corea del Sur, Japón y Tailandia. Hasta tal punto, que películas de estos países han conseguido un éxito inusual en Occidente. Este texto revisa las cintas más importantes de aquellos géneros y naciones, realizadas sobre todo a lo largo de este nuevo milenio. Es una guía para recordar, pero sobre todo para descubrir, algunos títulos imprescindibles del cine de género en Asia. a cinematografía asiática en los últi - que el curioso y autodidacta espectador gue por su marcada estética poética y mos años ha pasado de ser una simple que busca nuevas emociones recurra al heroica, plasmada en coreográficas se - curiosidad cultural a convertirse en un cine de esta parte del mundo como un cuencias de lucha. Es así que directores verdadero fenómeno que ha traspasado escape a los convencionalismos impues- como Quentin Tarantino (en Kill Bill ) e no solo las fronteras continentales, sino tos por la gran industria americana y incluso Martin Scorsese ( Los infiltrados también las barreras impuestas por el como una forma nueva y distinta de ver es un remake de Infernal affairs —Mou cine norteamericano. Los géneros co - la realidad, pudiendo permitirse por gaan dou, 2002—, una trilogía sobre munes y sus códigos impuestos utiliza - medio de la transferencia digital hacer - una mafia hongkonesa, trasladada a la Ldos casi siempre como una regla inque - se de películas en muchos casos impe- realidad americana a través de una or- brantable en el cine de Hollywood, han didas de ser exhibidas en salas (por la ganización criminal irlandesa), empie - traído consigo que el espectador ávido malsana distribución de los grandes zan a tomar ideas orientales para hacer por nuevas experiencias dirija sus ojos estudios) y que, lamentablemente, tie- sus películas y a abrir los sentidos a nue- hacia otras formas de ver el mundo a nen una presencia limitada a festivales vos directores como Park Chan Wook través de la pantalla grande. Por ello, se y al consumo local de los beneficiados (Hipnosis mortal [ Oldboy ], 2003) o a da el renacer del cine independiente eu- asiáticos. promover a directores asiáticos a filmar ropeo, el florecimiento del cine latinoame - en Hollywood, como es el caso de Hideo Esta explosión se inicia a nivel mun - ricano y sobre todo la buena salud artística Nakata, Takashi Shimizu, entre otros. dial cuando cintas como El Tigre y el y comercial del cine asiático. Dragón ( Wo hu cang long, de Ang Lee, ¿Pero dónde está la clave del éxito de Ajenos son esos años en los que se China, 2000) o Héroe ( Ying Xiang, de esta nueva ola del cine asiático? Cree - hablaba del cine asiático tan solo como Zhang Yimou, China, 2002), se vuelven mos que en su capacidad de reinventar referencia al cine de artes marciales o al éxitos comerciales en Norteamérica con los diversos géneros convencionales y cine reflexivo y costumbrista japonés. base en una variante del cine de artes adaptarlos a su entorno, a su realidad Hoy, la globalización y la internet, como marciales ajeno al mercado americano cultural, en el hecho de saber mezclarlos herramientas culturales, han permitido conocida como el Wuxia, que se distin - y sobre la base de estos, crear nuevos; 18 VENTANA INDISCRETA │N°1 │Universidad de Lima Ziyi Zhang en El tigre y el dragón. una virtud que nace de la independen- La cinematografía que revolucionó do, dando lugar a un icono cultural mo - cia artística y un apoyo constante del el cine de terror a nivel mundial es la derno: el fantasma con el rostro cubierto espectador local, que inteligentemente japonesa. Cintas como El aro (Ringu, por su pelo largo. de Hideo Nakata, 1998) y sus respecti- consume lo nacional como lo más cerca- Otros casos de buen cine fantástico, o vas secuelas, Aguas oscuras (Honogu- no a su visión del mundo. próximos a él, los encontramos en directo - rai mizu no soko kara . Hideo Nakata, res como Takashi Miike, en la psicológica 2002) y La maldición (Ju-On . Takashi y obsesiva Audición (Odishon , 1999) o la La fantasía y el terror: Shimizu, 2000) son las primeras pelícu- cinta de espectros Una llamada perdida las que marcaron a toda una generación (Chakushin ari , 2003); Kiyoshi Kuro- Aquellos extraños de y fueron la punta del iceberg para todo sawa, un cineasta que ve el cine de terror pelo largo un sinnúmero de secuelas y remakes di- de una manera más intimista, ligándolo a rigidos por los mismos directores en el temores básicos de la humanidad como la Uno de los géneros que ha sido explotado mercado occidental. soledad, con las hipnóticas La cura ( Cure , en el cine oriental en los últimos años y La premisa del cine de terror japonés 1999) y Kairo (2001); o Shinya Tsuka - que ha tenido mayor aceptación en Occi - que espantó a medio planeta era simple moto, quien logra un terror cyberpunk dente es el cine de terror. Este género en y arraigada definitivamente en su cultu - en Tetsuo (1989), además de contar con el cine americano de la última década ha ra; la presencia de seres del más allá que su oda romántica visceral Vital (2004), sido dirigido a un público juvenil que no intentaban comunicarse con los seres te- Haze (2005) o su incursión terrorífica en el cine policial con Detective de pesadillas tiene más motivaciones argumentales rrenales en busca de redención, justicia o (Akumu tantei , 2006). que ver sangre y desmembramientos en venganza por sucesos que habían ocurrido la pantalla, circunstancias que de alguna en su vida pasada. Aquí los espectros tie- Los directores de Hong Kong más im - manera han cambiado con la llegada del nen motivaciones poderosas para penar portantes en el género de terror son los terror oriental a las salas de cine de todo en medio de historias más elaboradas y hermanos Pang. Ambos llevaron al cine El el mundo. formas más sugestivas de transmitir mie - ojo (Gin gwai , 2002), una película que se VENTANA INDISCRETA │N°1 │Universidad de Lima 19 introducía en el mundo de la ceguera y la la ley, en donde el respeto de códigos como el que un asesino a sueldo tiene que salvar donación del ojo de una difunta que per- la amistad, la hermandad y el orgullo en a una prostituta en una noche demasiado mite a la que recibió el órgano poder ver a situaciones límite se protegía con sangre violenta, y Protégé ( Moon to, 2007), una diversos espectros que buscan respuestas y balas, que se intercalaban en estilizadas cinta que narra todo el aparato policial a su muerte. Esta cinta ha tenido un re- coreografías. Un tipo de cine que se co - tras el narcotráfico en Hong Kong. make americano, lo que les ha permitido noce como el “Heroic bloodshed”. De esa Si esta segunda oleada del cine policial a ambos hermanos hacer cintas de terror época de gloria que marcó un antes y un hongkonés se puede confirmar de mane - psicológico o cine fantástico con más li - después del cine de la ex colonia británica bertades artísticas; por el lado de Oxide podemos destacar a John Woo, que mar - ra fehaciente, se debe al trabajo de An- Pang, películas como Ab-normal beauty có no solo un estilo, como lo es el “Bullet drew Lau. Su trilogía de policías y mafia, (Sei mong se jun , 2004) o Diary ( Mon Ballet”, sino que propuso a su actor fetiche la ya mencionada Infernal affairs , es un seung , 2006), y por parte de Danny Pang, Chow Yun Fat como un icono de esa clase material que le sirvió a Scorsese para al- Re-cycle (Gwai wik, 2006) y Forest of the de cine en cintas como A better tomorrow canzar el Oscar con Los infiltrados . Adi- dead ( Sum yuen , 2007). I y II (Ying hung boon sik, 1986 y 1987), cionalmente, el futuro está asegurado The Killer (Dip huet seung hung, 1989), con directores como Wilson Yip, quien La industria coreana, una de las más só - Bullet in the Head (Die xue jie tou, 1990) y ha unificado magistralmente el cine de lidas de Asia, también ha tenido excelen - Hard-boiled (Lat sau san tam, 1992). acción policial con las artes marciales tes cintas de terror, pero en el caso de ellas en la incombustible Flashpoint (Dou fo más cercanas al estilo japonés y sin su Otros que siguieron la estela de John sin, 2007), así como con el joven Pou-soi repercusión internacional; sin embargo, Woo con igual o mayor brillo son Ringo Cheang, una de las más importantes pro - cumplen con los parámetros técnicos y ar- Lam ( City on Fire [ Lung fu fong wan ], mesas del cine de la isla, quien con cin- gumentales para ser reconocidas. En este 1987. De donde Tarantino sacó ideas para tas como a Love battlefield (Ai zuozhan, grupo encontramos, por ejemplo, a Dos Perros del depósito , Full Contact [Xia dao 2004) y Dog bite dog (Gau ngao gau, hermanas ( Janghwa, Hongryeon , 2004) Gao Fei ], 1993), Tsui Hark ( The big heat 2006) ha sabido emplear historias sórdi- de Kim Jee-woon, estrenada en nuestro [Cheng shi te ping ], 1988), y el hoy afama- das y personajes en situaciones límite. país. Más allá del terror, jugando con la do Jhonnie To ( The mission [ Cheng fo ], ciencia-ficción, tenemos la celebrada The 1999; A hero never dies [ Chan sam ying Corea del Sur es uno de los países cuya host: Monstruo depredador ( Gwoemul , hung ], 1998). En la actualidad, este último cinematografía ha bebido directamente de Bong Joon-ho, 2006).
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