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Walker erakusketarekin lotuta, Tsai Ming-Liang zinegileari eskainitako zine-zikloa.

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Tsai Ming-liangek hiru hamarkada daramatza bizi ditugun espazioekin dugun harremana birplanteatzera bultzatzen, eta zalantzan jartzen ditu basakeria arkitektonikoa eta hurbileko presentzietatik bereizten gaituzten oztopoak. Hiri handia gune alienatzailea eta liluragarria den misterio gisa erretratatzen da, eta bertako pertsonaiak bizi diren apartamentu ñimiñoak ur, iraganeko melodia eta emozioei iragazkor zaizkien mikrokosmos gisa irudikatzen dira.

Bere zinearen protagonistak, Lee Kang-Shengek etenik gabe gorpuztuak – gazte goibel batetik espiritualtasun sakonena gorpuzteko gai den gizon heldu batera eboluzionatzen ikusi dugu –, norabide zehatzik gabeko ibiltariak dira, ikusleak ere sentitzen duen harridura malenkoniatsuan bilduta.

Horren adierazle ezin hobea den 1994an Veneziako Urrezko Lehoia irabazi zuen Vive l 'amour filmak Tsai kontenplaziozko komedia erromantikoaren maisu gisa berretsi zuen. Hiru pertsonaiak biziraun egiten dute, gabezia sentimental handiak eta hutsune-sentsazio gaindiezina dituzten arren, Taipei zaratatsu eta ikaragarri batean. Zinemagileak eszenaratze oso zehatza egiten du, bere izakien arteko topaketak eta desadostasunak karga (hetero eta homo) erotiko sotil batekin eta bere filmografia osoa markatuko duen umore-sen berezi batekin harrapatuz.

El sabor de la sandia (2005) filmak paroxismora eraman zuen komedia musikala, bizilagunarekin maitemintzen den emakume baten istorioarekin, zenbait solairu gorago pelikula bat filmatzen ari den aktore pornoa dela jakin gabe. Filmak Taiwan astintzen duen lehorte basati bat hartzen du bere herritarrak biltzen dituen estimuluen ansiaren sinbolotzat, giza plazerren erradiografia distiratsu bat osatuz.

Stray Dogs, Veneziako Epaimahaiaren 2013ko Sari Nagusia, Taipein kokatzen da berriro. Kaleak trafikoz gainezka eta eraikin abandonatu bat, gaueko paisaia etsaia, garaitutako gizon batek eta bere bi seme-alaba txikiek zeharkatzen dutena. Amaren mamua, aldi berean presentzia itxaropentsu eta nostalgikoa, film honetan zehar agertzen eta desagertzen da, galeraren ondorengo babesgabetasun egoera konponezinari buruz. Berriz ere, hartualdi luzeak, laburpen dramatikoa, bertan behera utzitako denboraren poetika dira Tsaik erabiltzen dituen elementuak. Bere obraren bertute guztiak azken plano bikainean (14 minutu, estatikoa, elkarrizketarik gabea) biltzen dira, bere pertsonaiekiko hurbilketa biluzia, apala eta zintzoa, zinemaren mugak ia gainditu arte.

Javier H. Estrada

 

PROGRAMA

Urriak 3, larunbata, 19:00
Aurkezpena: Javier H. Estrada

Vive l’amour, Tsai Ming-Liang, Taiwan, 1994, 108’

 

Urriak 17, larunbata, 19:00 
El sabor de la sandía, Tsai Ming-Liang, Frantzia, Taiwán, 2005, 104’


Azaroan

Stray Dogs, Tsai Ming-Liang, Taiwán, Frantzia, 2013, 138'

 

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Javier H. Estrada kritikoa, irakaslea eta zinema-programatzailea da. Master in Arts in History of Film and Visual Media (Birkbeck College. University of London).


Gaur egun SEMINCIko zuzendarikidea da. Valladolideko Nazioarteko Zinema Astea. Sevillako Europako Zinemaldiko programazio-burua izan da, FILMADRIDeko sortzaileetako bat eta programazio-burua, DocumentaMadrideko hautaketa-batzordeko eta Oberhausengo Film Laburren Nazioarteko Jaialdiko kidea.


Caimán aldizkariko Erredakzio Kontseiluko kidea. Cuadernos de cine aldizkariak artikuluak argitaratu ditu hainbat hedabidetan, hala nola El Confidencial eta El Español egunkarietan eta El Cultural eta Archivos de la Filmoteca aldizkarietan, eta hainbat liburutan parte hartu du.


Irakaslea da Camilo José Cela Unibertsitatean (Madril) eta ECAMen. Madrilgo Erkidegoko Zinematografia eta Ikus-entzunezkoen Eskola.



 

 

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Gaur egun SEMINCIko zuzendarikidea da. Valladolideko Nazioarteko Zinema Astea. Sevillako Europako Zinemaldiko programazio-burua izan da, FILMADRIDeko sortzaileetako bat eta programazio-burua, DocumentaMadrideko hautaketa-batzordeko eta Oberhausengo Film Laburren Nazioarteko Jaialdiko kidea.


Caimán aldizkariko Erredakzio Kontseiluko kidea. Cuadernos de cine aldizkariak artikuluak argitaratu ditu hainbat hedabidetan, hala nola El Confidencial eta El Español egunkarietan eta El Cultural eta Archivos de la Filmoteca aldizkarietan, eta hainbat liburutan parte hartu du.


Irakaslea da Camilo José Cela Unibertsitatean (Madril) eta ECAMen. Madrilgo Erkidegoko Zinematografia eta Ikus-entzunezkoen Eskola.



 

 

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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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Hiri handia gune alienatzailea eta liluragarria den misterio gisa erretratatzen da, eta bertako pertsonaiak bizi diren apartamentu ñimiñoak ur, iraganeko melodia eta emozioei iragazkor zaizkien mikrokosmos gisa irudikatzen dira.Bere zinearen protagonistak, Lee Kang-Shengek etenik gabe gorpuztuak – gazte goibel batetik espiritualtasun sakonena gorpuzteko gai den gizon heldu batera eboluzionatzen ikusi dugu –, norabide zehatzik gabeko ibiltariak dira, ikusleak ere sentitzen duen harridura malenkoniatsuan bilduta.Horren adierazle ezin hobea den 1994an Veneziako Urrezko Lehoia irabazi zuen Vive l 'amour filmak Tsai kontenplaziozko komedia erromantikoaren maisu gisa berretsi zuen. Hiru pertsonaiak biziraun egiten dute, gabezia sentimental handiak eta hutsune-sentsazio gaindiezina dituzten arren, Taipei zaratatsu eta ikaragarri batean. Zinemagileak eszenaratze oso zehatza egiten du, bere izakien arteko topaketak eta desadostasunak karga (hetero eta homo) erotiko sotil batekin eta bere filmografia osoa markatuko duen umore-sen berezi batekin harrapatuz.El sabor de la sandia (2005) filmak paroxismora eraman zuen komedia musikala, bizilagunarekin maitemintzen den emakume baten istorioarekin, zenbait solairu gorago pelikula bat filmatzen ari den aktore pornoa dela jakin gabe. Filmak Taiwan astintzen duen lehorte basati bat hartzen du bere herritarrak biltzen dituen estimuluen ansiaren sinbolotzat, giza plazerren erradiografia distiratsu bat osatuz.Stray Dogs, Veneziako Epaimahaiaren 2013ko Sari Nagusia, Taipein kokatzen da berriro. Kaleak trafikoz gainezka eta eraikin abandonatu bat, gaueko paisaia etsaia, garaitutako gizon batek eta bere bi seme-alaba txikiek zeharkatzen dutena. Amaren mamua, aldi berean presentzia itxaropentsu eta nostalgikoa, film honetan zehar agertzen eta desagertzen da, galeraren ondorengo babesgabetasun egoera konponezinari buruz. Berriz ere, hartualdi luzeak, laburpen dramatikoa, bertan behera utzitako denboraren poetika dira Tsaik erabiltzen dituen elementuak. Bere obraren bertute guztiak azken plano bikainean (14 minutu, estatikoa, elkarrizketarik gabea) biltzen dira, bere pertsonaiekiko hurbilketa biluzia, apala eta zintzoa, zinemaren mugak ia gainditu arte.Javier H. Estrada"},"tematicaTid":52,"publicoTid":0,"publico2Tid":0,"yesterday":"2026-09-13","today":"2026-09-14"}},"staticQueryHashes":["1409045280","1472977592","1549843337","1600800028","1852898869","2684269349","2736526504","3122408510","3305536543","3493939040","3649515864","4040268713","63159454","847920557"]}