Klasikoak, Euskadiko Filmategiak eta Donostia Zinemaldiak udazkenero antolatzen duten zinema klasiko zaharberrituaren programazioa da.
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Klasikoak, Euskadiko Filmategiak eta Donostia Zinemaldiak udazkenero antolatzen duten zinema klasiko zaharberrituaren programazioa, hirugarren ediziora heldu da aurten, eta gainera, bost tokitan izango ditu emanaldiak. Baina Klasikoak zikloaren banku handiari eusten dioten hiru hanketako bat baino ez da hori. Irailean izango dira beste biak, Donostia Zinemaldia bera egin bitartean: jatorri korsikarreko José Giovanni idazle, gidoilari eta zuzendari handiaren obrari eskainitako atzera begirakoa, alde batetik, eta munduko zinemaren klasiko zaharberrituen hautaketa, bestetik.
Iaz, lerro hauetan bertan esaten genuen nekez aurkituko liratekeela zinema klasikoaren bi aurpegi adierazgarriago zikloaren edizio horretako irudiaren protagonistenak baino: Ingrid Bergman eta Cary Grant. Baina aurkitu ditugu. Ingrid Bergmanek errepikatu egiten du, baina oraingoan Humphrey Bogartekin batera. Agian ez dago film kanonikoki klasikoagorik Casablanca (Michael Curtiz, 1942) baino, non esaten ere ez diren esaldiak ere ospetsu bihurtu baitira (“Jo ezak berriro, Sam”). Aukera ezin hobea da Euskadiko Filmategiak orain arte inoiz programatu ez duen klasiko handi hau pantaila handian berreskuratzeko.
Emakumeak dira protagonista ia absolutuak La ciociara -Dos mujeres- (Vittorio de Sica, 1960) filmean: Alberto Moraviaren izen bereko eleberriaren bertsio zinematografikoa, zeinean Sophia Lorenek gerraren izugarrikerietatik ihes egin nahi baitu bere alaba nerabearekin. Gloria Swanson protagonista absolututzat du Queen Kelly -Kelly erregina- (Erich von Stroheim, 1929) filmak, zuzendari austriar megalomanoaren obra neurrigabe eta amaitu gabeak. Bi dira aurtengo ekarpen argentinarreko emakumezko protagonistak. Liv Ullmannek eta Cipe Lincovskyk daramate La amiga (Jeanine Meerapfel, 1988) filmaren pisua: Maiatzaren Plazako Amak agertzen diren lehena da, eta emakumezko interpretaziorik onenaren Zilarrezko Maskorra eman zien bi aktoreei urte hartako Zinemaldian. Isabelle Adjanik metraje eta pantaila ia osoa hartzen du La reine Margot -La reina Margot- (Patrice Chéreau, 1994) film bikainean: Margarita Valoiskoari buruzko biopic bat da –Alexandre Dumasen idazlana oinarri–, historiako zinema historikoaren erakusgarri onenetakoa. Eta era berean protagonistak dira, oso beren gogoz kontra, Voldtekt -Violación- (Anja Breien, 1971) film norvegiarreko sexu-erasoen emakumezko biktimak ere: gaurkotasun tamalez handiegiko drama etsigarria. Eta nahiz eta bikote bat izan (polizia batek lagundua) Spielbergen lehen filmeko protagonista, ikuskizunaren erregina nagusia, zalantzarik gabe, Goldie Hawn da. Pertsonaia kontraesankorra berea, maitagarria eta gorrotagarria tarteka, The Sugarland Express -Loca evasión- (Steven Spielberg, 1974) horretan.
Gizonezkoak protagonista dituzten filmei dagokienez, Yôjinbô -Yojimbo- (Akira Kurosawa, 1961) filmeko Toshiro Mifunerekin hasiko gara: samurai garaiezin eta trufaria, gerora Sergio Leonek A Fistful of Dollars -Por un puñado de dólares- (1964) filmean berreskuratuko zuena. Gizon bat da, orobat, El cebo (Ladislao Vajda, 1958) film zirraragarriko protagonista: ekoizpen espainiarrekoa baina Suitzan eta alemanez filmatua, neskatoen hiltzaile baten istorio ilun-iluna da, Suitza idilikoan girotua. Eta zinemaren historiako beste irudi ikoniko bat Harold Lloydena da, eraikin bateko erloju baten orratzetik zintzilik, Safety Last! -Euli gizona- (Fred C. Newmeyer, Sam Taylor, 1923) filmaren une gorenean, non Lloydek bere bizia arriskatzen baitu –literalki– neskatxa baten maitasunagatik.
Amaierarako utzi dugu gizonezko protagonista duen beste film bat, emakume batek zuzendua, kasu honetan: Ander eta Yul (Ana Díez, 1989), Euskadiko Filmategiak eta EITBk Eusko Jaurlaritzaren babespean zaharberritu duten azken filma. Terrorismoak, errepresioak eta drogak burdina goriz markatutako urte ilun haietaz mintzo den zinta horrek bizi berri batez gozatuko du, eta oraindik aukerarik izan ez duten publiko batzuek ere hura partekatu ahalko dute. Zinema klasikoaren oturuntza handi bat, baxera modernoan zerbitzatua. Nuccio Ordine filosofo eta irakaslearen arabera, klasikoek izaera bizia eta denboraz gaindikoa dute: bizitzearen artea irakasten digute, errealitatearen gainean begirada analitikoa lantzen laguntzen digute, aurreiritzirik gabeko jakin-mina pizten dute eta gure enpatia lantzen dute. Literaturarako zein zinemarako balio du horrek. Eta Klasikoak zikloak azpimarratu egiten du.
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Ángel Calvo Ulloa (Lalín, 1984) komisarioa eta idazlea da. Artearen Historian lizentziatua (USC) eta Arte Garaikideko Masterra: Sorkuntza eta Ikerketa UVigon. O Fantasma da Liberdade/Anozero 2024ko Coimbrako Bienaleko komisarioa izan da, Marta Mestrerekin batera.
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\nBere azken proiektu kuratorialen artean Jordi Teixidor nabarmentzen da. No-res, Sala Alcalá 31 (Madril); Juan Uslé. Ese barco en la montaña, Reina Sofia Museoan (Madril); ¿Adónde irá el pájaro que no vuele?, La Casa Encendidan (Madril); Humores y Espesores, Rodriguez-Mendez, CA2Men (Mostoles); El sueño de la cólcedra, Teresa Lanceta, Patio Herreriano Museoan (Valladolid); Siron Franco: Pensamento insubordinado (Trabalhos, 1961-2023), MAC Goiàsen (Brasil); Anidar en el gesto: unas estanterias de Alberto, Antonio Cerezales eta Cinia Fundazioan (Cerezales del Condado, Leon); Autoconstrucción. Piezas sueltas. Antonio Ballester Morenoren Juego y experiencia, Artiumen (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) edo, Nuria Enguitarekin batera, Habitación. El Archivo F.X., las chekas psicotécnicas de Laurencic y la función del arte,, CA2Men (Madril), MNACen (Bartzelona) eta La Nauren (ValentziHabitación.a). 2011z geroztik, hainbat erakundetan komisario lanak egin ditu, besteak beste, Caixaforumen (Bartzelona), MARCOn (Vigo), CCEMx-en (Mexiko Hiria), Luis Seoane Fundazioan (A Coruña), Tabacaleran (Madril), Centro Párragan (Murtzia) eta EACCn (Castelló).
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\n2020an, Desde lo curatorial. Conversaciones, experiencias y afectos, liburua argitaratu zuen Juan Canelarekin batera. Consonniren Paper Bildumaren barruan.
Mutil bat herritik irten eta hirira doa lan bila. Saltoki batzuetan hasi da saltzaile xume gisa. Neska-lagunari sinetsarazten dio erantzukizun handia duela.
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Baina Klasikoak zikloaren banku handiari eusten dioten hiru hanketako bat baino ez da hori. Irailean izango dira beste biak, Donostia Zinemaldia bera egin bitartean: jatorri korsikarreko José Giovanni idazle, gidoilari eta zuzendari handiaren obrari eskainitako atzera begirakoa, alde batetik, eta munduko zinemaren klasiko zaharberrituen hautaketa, bestetik.Iaz, lerro hauetan bertan esaten genuen nekez aurkituko liratekeela zinema klasikoaren bi aurpegi adierazgarriago zikloaren edizio horretako irudiaren protagonistenak baino: Ingrid Bergman eta Cary Grant. Baina aurkitu ditugu. Ingrid Bergmanek errepikatu egiten du, baina oraingoan Humphrey Bogartekin batera. Agian ez dago film kanonikoki klasikoagorik Casablanca (Michael Curtiz, 1942) baino, non esaten ere ez diren esaldiak ere ospetsu bihurtu baitira (“Jo ezak berriro, Sam”). Aukera ezin hobea da Euskadiko Filmategiak orain arte inoiz programatu ez duen klasiko handi hau pantaila handian berreskuratzeko.Emakumeak dira protagonista ia absolutuak La ciociara -Dos mujeres- (Vittorio de Sica, 1960) filmean: Alberto Moraviaren izen bereko eleberriaren bertsio zinematografikoa, zeinean Sophia Lorenek gerraren izugarrikerietatik ihes egin nahi baitu bere alaba nerabearekin. Gloria Swanson protagonista absolututzat du Queen Kelly -Kelly erregina- (Erich von Stroheim, 1929) filmak, zuzendari austriar megalomanoaren obra neurrigabe eta amaitu gabeak. Bi dira aurtengo ekarpen argentinarreko emakumezko protagonistak. Liv Ullmannek eta Cipe Lincovskyk daramate La amiga (Jeanine Meerapfel, 1988) filmaren pisua: Maiatzaren Plazako Amak agertzen diren lehena da, eta emakumezko interpretaziorik onenaren Zilarrezko Maskorra eman zien bi aktoreei urte hartako Zinemaldian. Isabelle Adjanik metraje eta pantaila ia osoa hartzen du La reine Margot -La reina Margot- (Patrice Chéreau, 1994) film bikainean: Margarita Valoiskoari buruzko biopic bat da –Alexandre Dumasen idazlana oinarri–, historiako zinema historikoaren erakusgarri onenetakoa. Eta era berean protagonistak dira, oso beren gogoz kontra, Voldtekt -Violación- (Anja Breien, 1971) film norvegiarreko sexu-erasoen emakumezko biktimak ere: gaurkotasun tamalez handiegiko drama etsigarria. Eta nahiz eta bikote bat izan (polizia batek lagundua) Spielbergen lehen filmeko protagonista, ikuskizunaren erregina nagusia, zalantzarik gabe, Goldie Hawn da. Pertsonaia kontraesankorra berea, maitagarria eta gorrotagarria tarteka, The Sugarland Express -Loca evasión- (Steven Spielberg, 1974) horretan.Gizonezkoak protagonista dituzten filmei dagokienez, Yôjinbô -Yojimbo- (Akira Kurosawa, 1961) filmeko Toshiro Mifunerekin hasiko gara: samurai garaiezin eta trufaria, gerora Sergio Leonek A Fistful of Dollars -Por un puñado de dólares- (1964) filmean berreskuratuko zuena. Gizon bat da, orobat, El cebo (Ladislao Vajda, 1958) film zirraragarriko protagonista: ekoizpen espainiarrekoa baina Suitzan eta alemanez filmatua, neskatoen hiltzaile baten istorio ilun-iluna da, Suitza idilikoan girotua. Eta zinemaren historiako beste irudi ikoniko bat Harold Lloydena da, eraikin bateko erloju baten orratzetik zintzilik, Safety Last! -Euli gizona- (Fred C. Newmeyer, Sam Taylor, 1923) filmaren une gorenean, non Lloydek bere bizia arriskatzen baitu –literalki– neskatxa baten maitasunagatik.Amaierarako utzi dugu gizonezko protagonista duen beste film bat, emakume batek zuzendua, kasu honetan: Ander eta Yul (Ana Díez, 1989), Euskadiko Filmategiak eta EITBk Eusko Jaurlaritzaren babespean zaharberritu duten azken filma. Terrorismoak, errepresioak eta drogak burdina goriz markatutako urte ilun haietaz mintzo den zinta horrek bizi berri batez gozatuko du, eta oraindik aukerarik izan ez duten publiko batzuek ere hura partekatu ahalko dute. Zinema klasikoaren oturuntza handi bat, baxera modernoan zerbitzatua. Nuccio Ordine filosofo eta irakaslearen arabera, klasikoek izaera bizia eta denboraz gaindikoa dute: bizitzearen artea irakasten digute, errealitatearen gainean begirada analitikoa lantzen laguntzen digute, aurreiritzirik gabeko jakin-mina pizten dute eta gure enpatia lantzen dute. Literaturarako zein zinemarako balio du horrek. 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