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Ciclo de cine dedicado al cineasta taiwanés Tsai Ming-Liang con motivo de la exposición del Walker.

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El ruido alrededor: las agridulces odiseas íntimas de Tsai Ming-liang


Tsai Ming-liang lleva tres décadas incitándonos a replantear nuestra relación con los espacios que vivimos, cuestionando la brutalidad arquitectónica y las barreras que nos separan de las presencias cercanas. La gran urbe es retratada como un misterio que aliena pero también fascina, y los minúsculos apartamentos que habitan sus personajes se representan como microcosmos permeables a torrentes de agua, melodías del pasado y emociones arrebatadas.

Los protagonistas de su cine, encarnados ininterrumpidamente por Lee Kang-Sheng -al que hemos visto evolucionar desde un joven taciturno a un hombre maduro capaz de encarnar la más profunda espiritualidad- son caminantes sin rumbo preciso, envueltos en una melancólica perplejidad que experimenta también el espectador.

Perfecto exponente de ello, la ganadora del León de Oro de Venecia en 1994, Vive l’amour, confirmó a Tsai como maestro de la comedia romántica contemplativa. Tres personajes sobreviven pese a sus carencias sentimentales y una insalvable sensación de vacío en un Taipéi ruidoso y abrumador. El cineasta despliega una puesta en escena extremadamente precisa, capturando los encuentros y desencuentros de sus criaturas con una sutil carga (hetero y homo) erótica y un particular sentido del humor que marcará toda su filmografía.

El sabor de la sandía (2005) llevó la comedia musical al paroxismo con la historia de una mujer que se enamora de su vecino sin ser consciente de que se trata de un actor porno que está rodando una película varios pisos más arriba. La película toma una brutal sequía que azota Taiwán como símbolo del ánsia de estímulos que envuelve a sus ciudadanos, configurando una resplandeciente radiografía de los placeres humanos.

Stray Dogs, Gran Premio del Jurado en Venecia en 2013, se sitúa de nuevo en Taipei, sus calles saturadas de tráfico y un edificio abandonado, paisaje nocturno y hostil que transitan un hombre derrotado y sus dos hijos pequeños. El fantasma de la madre, presencia a la vez esperanzadora y nostálgica, aparece y se disipa a lo largo de este film sobre el irremediable estado de desamparo que sigue a la pérdida. Una vez más, las tomas extensas, la concisión dramática, la poética del tiempo suspendido, son los elementos empleados por Tsai. Todas las virtudes de su obra se condensan en el soberbio último plano (14 minutos, estático, sin diálogos), una aproximación desnuda a sus personajes, modesta y sincera hasta casi superar los límites del cine.


Javier H. Estrada

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Javier H. Estrada es crítico, profesor y programador de cine. Master in Arts in History of Film and Visual Media (Birkbeck College. University of London).

Actualmente es codirector de SEMINCI. Semana Internacional de Cine de Valladolid. Ha sido jefe de programación del Festival de Cine Europeo de Sevilla, cofundador y jefe de programación de FILMADRID, miembro del comité de selección de DocumentaMadrid y del Festival Internacional de Cortometrajes de Oberhausen. 

Miembro del Consejo de Redacción de la revista Caimán. Cuadernos de cine, ha publicado artículos en diferentes medios como los diarios El Confidencial  y El español, o las revistas El Cultural y Archivos de la Filmoteca y participado en numerosos libros.

Es profesor en la Universidad Camilo José Cela (Madrid) y en ECAM. Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid.  

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En la bulliciosa jungla urbana de Taipéi, los vínculos humanos auténticos escasean.

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Javier H. Estrada es crítico, profesor y programador de cine. Master in Arts in History of Film and Visual Media (Birkbeck College. University of London).

Actualmente es codirector de SEMINCI. Semana Internacional de Cine de Valladolid. Ha sido jefe de programación del Festival de Cine Europeo de Sevilla, cofundador y jefe de programación de FILMADRID, miembro del comité de selección de DocumentaMadrid y del Festival Internacional de Cortometrajes de Oberhausen. 

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Es profesor en la Universidad Camilo José Cela (Madrid) y en ECAM. Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid.  

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Cincuenta años después, aquel paso truncado de El Desencanto por San Sebastián vuelve a revisarse. 

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Albertina Carri es una figura fundamental del cine latinoamericano actual. Se caracteriza por la versatilidad en los géneros y materiales que aborda. Dirigió las películas No quiero volver a casa, Los rubios, Géminis, La rabia, Cuatreros, Las hijas del fuego y ¡Caigan las rosas blancas! con las que participó de los festivales de Cannes, Berlín, Toronto, Venecia, San Sebastián, La Habana y Rotterdam, entre muchos otros. La obra de Carri se va transformando en función de la elaboración de sus temas, recursos y medios. Así reorganiza materiales fílmicos desde los que se sumerge en las potencias del sonido y el movimiento en instalaciones audiovisuales: Cine puro, Punto impropio y Animales puros, son algunas de ellas. De este  mismo modo incorpora a su producción la escritura, tanto en poesía como en prosa. Publicó Los rubios: Cartografía de una película, Retratos ciegos, Lo que aprendí de las bestias, Las posesas y Cine vivo.

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La Gestapo busca en Casablanca al líder checo y héroe de la Resistencia Victor Laszlo. Su única esperanza es Rick Blaine, antiguo amante de su mujer, Ilsa.

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En la bulliciosa jungla urbana de Taipéi, los vínculos humanos auténticos escasean.

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Javier H. Estrada es crítico, profesor y programador de cine. Master in Arts in History of Film and Visual Media (Birkbeck College. University of London).

Actualmente es codirector de SEMINCI. Semana Internacional de Cine de Valladolid. Ha sido jefe de programación del Festival de Cine Europeo de Sevilla, cofundador y jefe de programación de FILMADRID, miembro del comité de selección de DocumentaMadrid y del Festival Internacional de Cortometrajes de Oberhausen. 

Miembro del Consejo de Redacción de la revista Caimán. Cuadernos de cine, ha publicado artículos en diferentes medios como los diarios El Confidencial  y El español, o las revistas El Cultural y Archivos de la Filmoteca y participado en numerosos libros.

Es profesor en la Universidad Camilo José Cela (Madrid) y en ECAM. Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid.  

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Sally Mann, una de las fotógrafas más destacadas del mundo, crea obras que cuestionan los valores y las actitudes morales del público

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Anne Morin (Rouen, Francia, 1973) es graduada por la École Nationale de Photographie d’Arles y la École Supérieure des Beaux-Arts de Montpellier. Trabajó para el festival PHotoEspaña entre 2001 y 2004, antes de asumir la dirección de diChroma Photography (Madrid), una empresa especializada en exposiciones fotográficas itinerantes internacionales, así como en el desarrollo y producción de proyectos culturales. diChroma colabora con museos e instituciones de renombre internacional. 

Trabaja para revalorizar y dar mayor visibilidad a artistas y fotógrafos, comisariando distintas exposiciones: Berenice Abbott, Antonio López, Vivian Maier, Robert Doisneau, Jessica Lange, Jacques Henri Lartigue, Sandro Miller, Pentti Sammallahti y Margaret Watkins, entre otros. Ocasionalmente, también se reinventa como editora de libros de fotografía, habiendo publicado obras como Antonio López: Visionary Writing, Margaret Watkins: Black Light o Paul Alexandre: Slowness.

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Un chico de pueblo se muda a la ciudad para buscar trabajo. Comienza como vendedor en unos almacenes y hace creer a su novia que tiene más responsabilidad.

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