{"id":8800,"date":"2014-04-01T02:00:00","date_gmt":"2014-04-01T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/04\/01\/el-futur-no-es-el-que-era\/"},"modified":"2014-04-01T02:00:00","modified_gmt":"2014-04-01T02:00:00","slug":"el-futur-no-es-el-que-era","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/el-futur-no-es-el-que-era\/","title":{"rendered":"El futur no \u00e9s el que era"},"content":{"rendered":"

\"El_futuro_Film_still_1.png\"
\nEl futuro<\/em> (primer llargmetratge de Luis L\u00f3pez Carrasco, del col\u00b7lectiu cinematogr\u00e0fic Los Hijos) \u00e9s una pel\u00b7l\u00edcula de baix pressupost ambientada en el passat que tracta sobre la situaci\u00f3 present. Estem davant d’una d’aquestes produccions la centralitat de la qual gira entorn el concepte de temps, o temporalitat. L’al\u00b7locuci\u00f3 de Felipe Gonz\u00e1lez el dia en qu\u00e8 el PSOE guanya les eleccions el 1982, inaugurant una nova era en la hist\u00f2ria d’Espanya, d\u00f3na pas a l’interior d’una festa en un pis; joves vestits a l’estil dels vuitanta conversen, beuen i ballen mentre sona la m\u00fasica ultrapop de grups espanyols com a Ciudad Jard\u00edn, Aviador Dro o Ataque de Caspa, entre d\u2019altres. Com en tota festa, la m\u00fasica ofega les paraules. No hi ha una trama identificable, ni tampoc cap protagonista definit ni res semblant. El que es registra \u00e9s un ambient.<\/p>\n

El futur<\/em> toca un tema sensible en la hist\u00f2ria recent d’Espanya, que no \u00e9s altre que les diferents as\u00edncrones sorgides entre una modernitat est\u00e8tica en el cultural (el que s’ent\u00e9n com “all\u00f2 modern”), i els processos de modernitzaci\u00f3 i progr\u00e9s sortits dels models socio-pol\u00edtics de la Transici\u00f3, i que tenen, en la vict\u00f2ria socialista del 82 un dels seus moments clau. De la contracultura a la “Cultura oficial” hi ha de vegades una lleugeresa. I aix\u00f2 passa amb la Movida Madrilenya, l’objecte analitzat i sobretot inquirit.<\/p>\n

Aquesta Movida Madrilenya \u00e9s aqu\u00ed tot un “fantasma semi\u00f2tic”, aquella definici\u00f3 encunyada per William Gibson que descrivia aquests “trossos d’imatgeria cultural profunda que s’han despr\u00e8s i adquirit vida pr\u00f2pia”, o dit d’una altra manera, miratges populars referits a una cultura concreta. Encara \tque Gibson es referia a la imatgeria de la ci\u00e8ncia ficci\u00f3, la seva aplicaci\u00f3 \u00e9s v\u00e0lida per a qualsevol representaci\u00f3 del passat convertida en arquetip perqu\u00e8, qu\u00e8 \u00e9s ara la Movida sin\u00f3 un gegant\u00ed i oport\u00fa clix\u00e9 que reapareix una i altra vegada com espectre que vaga?<\/p>\n

Formalment les intencions queden clares des del comen\u00e7ament; rodant en l’obsolesc\u00e8ncia de la pel\u00b7l\u00edcula en cel\u00b7luloide de 16 mm s’aconsegueix una textura borrosa i una p\u00e0tina pict\u00f2rica que ens remet al per\u00edode i a l’atmosfera que pret\u00e9n registrar. El format de la imatge \u00e9s quadrat. L’enfocament – desenfocament de moltes de les imatges de la festa adquireix una dimensi\u00f3 metaf\u00f2rica, en sintonia amb la representaci\u00f3 fantasmag\u00f2rica pop que es trasllada.<\/p>\n

La recerca de realisme combina subtilment la precisa perioditzaci\u00f3 amb l’instant atemporal, susp\u00e8s en el temps. En comptes de “ficci\u00f3” o “documental”, podria dir-se que El futur<\/em> \u00e9s el document sortint d’una situaci\u00f3 real ambientada estil\u00edsticament en el passat; una “c\u00e0psula de temps” d’imatges imperibles, fragments congelats que aspiren a ser rescatats en un altre temps i lloc.<\/p>\n

Aquesta \u00e9s una pel\u00b7l\u00edcula amb diverses categories, fins i tot contradict\u00f2ries; modernista en tant que \u00e9s reflexiva o conscient dels seus propis procediments, alhora amb una forma compacta, aut\u00f2noma i una mica atemporal; postmodernista doncs perioditzaci\u00f3 mirant al passat, encara que no ja amb la nost\u00e0lgia del “film-pastitx” i altres trets t\u00edpicament postmoderns. M\u00e9s que un anhel per temps no viscuts (Luis L\u00f3pez Carrasco i alguns altres dels participants en aquest film van n\u00e9ixer al comen\u00e7ament dels vuitanta), el que aflora \u00e9s un retret d\u2019all\u00ec heretat. Una cr\u00edtica davant un futur arrabassat des del passat.<\/p>\n

Davant la manca d’un arxiu d’imatges que serv\u00eds per definir una \u00e8poca (m\u00e9s enll\u00e0 d’Almod\u00f3var, La edad de oro<\/em> i altres), el director ha tractat de produir el seu propi material com si d’un objet trouv\u00e9 es tract\u00e9s. Per\u00f2 el problema amb el found footage \u00e9s que, o \u00e9s o no \u00e9s (metratge trobat). No hi ha mitges tintes, llevat que es jugui amb la veritat, encara que aix\u00f2 requeriria de tota una versemblan\u00e7a un trampeig, que aqu\u00ed no es d\u00f3na, ni tampoc necessita. (Penso per exemple en L’ Ambassade<\/em> (1973) de Chris Marker, com a document suprem entre el documental i la ficci\u00f3).<\/p>\n

Quan millor funciona El futuro<\/em> \u00e9s quan la pensem com un “substitut” d’un arxiu inexistent, tot i sabent en tot moment el terreny que trepitja. A la meitat de la pel\u00b7l\u00edcula s\u00ed que inclou una s\u00e8rie de velles imatges de fam\u00edlia tretes de les escombraries i que connecten amb l’Espanya franquista dels seixanta i setanta, les d\u00e8cades en qu\u00e8 aquests mateixos joves dels vuitanta eren encara nens, mentre sona “Nuclear s\u00ed” d’Aviador Dro. Una fascinaci\u00f3 esteticista augmenta en els \u00faltims compassos, en una innecess\u00e0ria hip\u00e8rbole de la forma i el contingut, ja que el “missatge” ja ha impregnat, de la millor de les maneres; arriscant, interrogant i tamb\u00e9, delectant.<\/p>\n","protected":false},"excerpt":{"rendered":"

El futuro (primer llargmetratge de Luis L\u00f3pez Carrasco, del col\u00b7lectiu cinematogr\u00e0fic Los Hijos) \u00e9s una pel\u00b7l\u00edcula de baix pressupost ambientada en el passat que tracta sobre la situaci\u00f3 present. Estem…<\/p>\n","protected":false},"author":1261,"featured_media":8752,"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":"\nEl futur no \u00e9s el que era – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/el-futur-no-es-el-que-era\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El futur no \u00e9s el que era – A*Desk\" \/>\n<meta property=\"og:description\" content=\"El futuro (primer llargmetratge de Luis L\u00f3pez Carrasco, del col\u00b7lectiu cinematogr\u00e0fic Los Hijos) \u00e9s una pel\u00b7l\u00edcula de baix pressupost ambientada en el passat que tracta sobre la situaci\u00f3 present. 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