{"id":8282,"date":"2013-10-19T02:00:00","date_gmt":"2013-10-19T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/10\/19\/winding-refn-en-pugna-contra-si2486\/"},"modified":"2013-10-19T02:00:00","modified_gmt":"2013-10-19T02:00:00","slug":"winding-refn-en-pugna-contra-si2486","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/winding-refn-en-pugna-contra-si2486\/","title":{"rendered":"Winding Refn, en pugna contra s\u00ed mateix"},"content":{"rendered":"

\"Only_god_forgives.jpg\"
\nA risc de resultar reduccionista en l’afirmaci\u00f3, el gruix de la creaci\u00f3 liter\u00e0ria i cinematogr\u00e0fica es resumeix en tres lluites: contra un mateix, contra els altres i contra el dest\u00ed. L’obra de Nicolas Winding Refn, abundant en la simplicitat, aglutina els conflictes anteriors en una filmografia unida a la idea de la venjan\u00e7a. D’aquesta manera, Valhalla Rising<\/em> apareix indefectiblement encadenada al concepte determinista de la religi\u00f3 pagana, Bronson<\/em> explora els demencials mecanismes d’un ex-boxejador en cont\u00ednua pugna individual i Drive<\/em> funciona a trav\u00e9s dels racons foscos d’un antiheroi amb un concepte de just\u00edcia decididament pedestre. L’\u00faltim projecte del director dan\u00e8s, un dels plats forts de la present edici\u00f3 del festival de Sitges, no \u00e9s sin\u00f3 una continuaci\u00f3 de les seves obsessions, tant a nivell formal com de contingut, que enalteix les seves capacitats com a creador d’imatges a la vegada que subratlla les seves defici\u00e8ncies com auteur<\/em> a nivell purament narratiu.<\/p>\n

Aix\u00ed, Only God forgives<\/em> es gaudeix com col\u00b7lecci\u00f3 de fotografies art\u00edstiques, com a successi\u00f3 de bell\u00edssims travellings horitzontals i com a exercici de composici\u00f3 de pl\u00e0nols, aix\u00f2 s\u00ed, sense cap connexi\u00f3 entre uns i altres. I aqu\u00ed \u00e9s on apareixen les limitacions, en la incapacitat de dotar al conjunt d’una coher\u00e8ncia expositiva que el situa en el corrent m\u00e9s v\u00e0cua del nihilisme. Winding Refn s’erigiria d’aquesta manera com una mena de Gaspar No\u00e9 sense pretensions moralitzants amb la pot\u00e8ncia visual de l\u2019ultraviolent cinema core\u00e0. Al primer l\u2019uniria la necessitat d\u2019impactar exhibida de forma gaireb\u00e9 obscena per No\u00e9 a Irreversible i Sol contra tots<\/em> que apareix a Only God Forgives<\/em> a trav\u00e9s d’una s\u00e8rie de mutilacions la senya d’identitat de les quals \u00e9s l’arbitrarietat m\u00e9s absoluta. Pel que fa al cel\u00b7luloide asi\u00e0tic, l’espectacular treball de so, la sensacional fotografia, l’encertada direcci\u00f3 de les escenes d’acci\u00f3 i un peculiar sentit de l’honor tacat entronquen directament amb la trilogia de la venjan\u00e7a de Park Chan-Wook, la Cr\u00f2nica d’un assass\u00ed en s\u00e8rie<\/em> de Bang Joon-ho o la irregular The yellow sea<\/em> del tamb\u00e9 core\u00e0 Na Hong-jin.<\/p>\n

Hi ha dues q\u00fcestions de vital import\u00e0ncia a l’hora d’endinsar-se en el projecte de Winding Refn. La dedicat\u00f2ria final a Alejandro Jodorowsky (que perfectament podria haver estat substitu\u00efda per una que res\u00e9s: “a mi mateix”, donat el postmodern afany de l’autor per autorreferenciarse) evidencia les ambicions surrealistes de la pel\u00b7l\u00edcula. Un desmanegat ullet a \u201cEl gos andal\u00fas\u201d de Bu\u00f1uel i les reinterpretacions d’alguns passatges religiosos donen a entendre que el dan\u00e8s roman fidel a les seves obstinacions primig\u00e8nies.<\/p>\n

D’altra banda, la interpretaci\u00f3 hier\u00e0tica de Ryan Gosling (la seva expressivitat \u00e9s similar a la d’un maniqu\u00ed despullat de les seves peces) suggereix un apropament bressoni\u00e0<\/em> que no obstant aix\u00f2 resulta fallit a tenor de l’esc\u00e0s desenvolupament dels seus personatges. Entre ells, una Kristin Scott Thomas sensual com a musa i botx\u00ed, icona freudi\u00e0 que es delata despr\u00e9s de la l\u00ednia de di\u00e0leg en qu\u00e8 acusa el seu fill de tenir gelosia del seu germ\u00e0 per la grand\u00e0ria del seu membre viril. L’afirmaci\u00f3 no fa sin\u00f3 emfatitzar l’evident intenci\u00f3 d’actualitzar el mite ed\u00edpic o, en la versi\u00f3 m\u00e9s propera, el fam\u00f3s vers de Jim Morrison en qu\u00e8 instava a “matar el pare i follar-se la mare”.<\/p>\n

Resulta paradoxal, per cert, que tot i l’economia ling\u00fc\u00edstica en qu\u00e8 es mou la pel\u00b7l\u00edcula, la banda sonora suposi un intent una mica estrident de suplir les mancances de di\u00e0leg. El director mant\u00e9 el mateix to altisonant en altres aspectes t\u00e8cnics com l’excessiva saturaci\u00f3 de la paleta crom\u00e0tica i les estrepitoses llums de ne\u00f3 que durant el primer ter\u00e7 fascinen per\u00f2 poc m\u00e9s tard atordeixen. La sensaci\u00f3 de vegades \u00e9s que l\u2019amfetam\u00ednic crit d’est\u00edmuls proposa irritar l’espectador amb l’objectiu que passi per alt quant d\u2019inflada resulta la pel\u00b7l\u00edcula en la seva major part.<\/p>\n","protected":false},"excerpt":{"rendered":"

A risc de resultar reduccionista en l’afirmaci\u00f3, el gruix de la creaci\u00f3 liter\u00e0ria i cinematogr\u00e0fica es resumeix en tres lluites: contra un mateix, contra els altres i contra el dest\u00ed….<\/p>\n","protected":false},"author":1305,"featured_media":8268,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nWinding Refn, en pugna contra s\u00ed mateix – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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