{"id":1382,"date":"2021-03-05T15:56:51","date_gmt":"2021-03-05T15:56:51","guid":{"rendered":"https:\/\/blogs.cervantes.es\/bucarest\/?p=1382"},"modified":"2021-03-05T15:56:51","modified_gmt":"2021-03-05T15:56:51","slug":"cinema-feminin-spaniol-cineastele-deschizatoare-de-drum-in-luna-martie-online-la-institutul-cervantes-din-bucuresti","status":"publish","type":"post","link":"https:\/\/blogs.cervantes.es\/bucarest\/2021\/03\/05\/cinema-feminin-spaniol-cineastele-deschizatoare-de-drum-in-luna-martie-online-la-institutul-cervantes-din-bucuresti\/","title":{"rendered":"Cinema feminin spaniol: cineastele \u2013 deschiz\u0103toare de drum, \u00een luna martie, online,   la Institutul Cervantes din Bucure\u0219ti"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/blogs.cervantes.es\/bucarest\/files\/2021\/03\/blog-1024x536.jpg\" alt=\"\" class=\"wp-image-1385\" width=\"466\" height=\"243\" srcset=\"https:\/\/blogs.cervantes.es\/bucarest\/files\/2021\/03\/blog-1024x536.jpg 1024w, https:\/\/blogs.cervantes.es\/bucarest\/files\/2021\/03\/blog-300x157.jpg 300w, https:\/\/blogs.cervantes.es\/bucarest\/files\/2021\/03\/blog-768x402.jpg 768w, https:\/\/blogs.cervantes.es\/bucarest\/files\/2021\/03\/blog.jpg 1200w\" sizes=\"(max-width: 466px) 100vw, 466px\" \/><\/figure>\n\n\n\n<p>Luna\nfemeii este s\u0103rb\u0103torit\u0103 la Institutul Cervantes cu o serie de filme care aduc\n\u00een aten\u021bia publicului c\u00e2teva dintre numele emblematice ale regiei semnate de\nfemei: Margarita Alexandre, Cecilia Bartolom\u00e9, Ana Mariscal, Pilar Mir\u00f3 \u0219i\nJosefina Molina \u2013 <em>Espacio femenino<\/em>. <em>Pioneras<\/em>.<\/p>\n\n\n\n<p>\u00centr-o Spanie care abia ie\u0219ea din R\u0103zboiul Civil, <strong>Ana\nMariscal<\/strong> vine cu o proponere inovatoare \u0219i \u00eendr\u0103znea\u021b\u0103, <em>Segundo L\u00f3pez,\naventurero urbano<\/em> (1952) o comedie spumoas\u0103 promovat\u0103 \u00een acea epoc\u0103 drept\n\u201eun film regizat de o femeie, care va fi pl\u0103cut de b\u0103rba\u021bi\u201d. Regizat \u0219i\nrealizat dup\u0103 un scenariu de Ana Mariscal \u0219i Leocadio Mej\u00edas, dup\u0103 un scenariu\nsemnat de acesta din urm\u0103, filmul \u00eei are \u00een distribu\u021bie pe Severiano Poblaci\u00f3n,\nMart\u00edn Ram\u00edrez, Ana Mariscal, Luisita Esteso, Tony Leblanc, Mariano Aza\u00f1a,\nMatilde Artero, Carlos Fern\u00e1ndez Cuenca, Manuel Mur Oti, Leocadio Mej\u00edas, Jos\u00e9\nLuis Alonso, Adela Carbon\u00e9, Emilio Gonz\u00e1lez de Herv\u00e1s, \u00c1ngel Jord\u00e1n \u0219i Ernesto\nLape\u00f1a. \u00cen acest film construit pe estetica neorealist\u0103, personajele picare\u0219ti\nsunt \u00eenzestrate cu o remarcabil\u0103 umanitate \u0219i invit\u0103 spectatorul \u00eentr-o poveste\ndespre curaj \u0219i \u0219ans\u0103, \u00eent\u00e2mpl\u0103ri nea\u0219teptate \u0219i experien\u021be surprinz\u0103toare.\nDrumul parcurs de Segundo L\u00f3pez, un b\u0103rbat cinstit de la \u021bar\u0103, care ajunge la\nMadrid f\u0103r\u0103 nici un ban, dup\u0103 moartea mamei \u0219i vinderea micii afaceri de familie,\neste pres\u0103rat de personaje pitore\u0219ti \u0219i situa\u021bii dintre cele mai diverse \u0219i\ncolorate. <\/p>\n\n\n\n<p>De la cariera de actri\u021b\u0103, <strong>Margarita Alexandre<\/strong> face\nsaltul cu succes \u00een sfera regiei, unul dintre cele mai apreciate filme ale sale\nfiind <em>La gata<\/em> (1956), regizat \u00eempreun\u0103 cu Rafael Torrecilla. O dram\u0103\nrural\u0103 cu o ac\u021biune plasat\u0103 \u00een Andaluzia, av\u00e2ndu-i ca protagoni\u0219ti pe doi\ndintre actorii celebri ai anilor 50, Aurora Bautista \u0219i Jorge Mistral, este\nprimul film realizat \u00een Spania \u00een sistemul cinemascope, care a dus la o\ncalitate superioar\u0103 a imaginii. <em>La gata <\/em>&nbsp;spune povesteaMar\u00edei, fiica\nresponsabilului unei ferme andaluze denumite \u201ePisica\u201d, care se \u00eendr\u0103goste\u0219te de\nunul dintre muncitorii ce viseaz\u0103 s\u0103 devin\u0103 toreador,&nbsp; poate fi descris drept o frumoas\u0103 tragedie. Aici,\ncare satul andaluz \u0219i via\u021ba din cadrul fermelor sunt creionate \u00eentr-o estetic\u0103\npictural\u0103, cu personaje insolite pentru cinemaul spaniol al acelei epoci.\nAtmosfera special\u0103 pe care o creez\u0103 peisajele \u00een care se desf\u0103\u0219oar\u0103 ac\u021biunea\neste poten\u021bat\u0103 de acorduri flamenco la chitar\u0103 de Manuel Hern\u00e1ndez \u0219i \u00c1ureo\nHerrero.<\/p>\n\n\n\n<p>O alt\u0103\nfigur\u0103 iconic\u0103 a cinematografiei spaniole este <strong>Pilar Mir\u00f3<\/strong>, al c\u0103rei curaj\nde a prezenta oamenilor realit\u0103\u021bi istorice controversate i-a adus probleme din\npartea autorit\u0103\u021bilor, revoltate de perspectiva dur\u0103 \u0219i violent\u0103 din filmul s\u0103u <em>El\ncrimen de Cuenca <\/em>(1979), inspirat dintr-o poveste real\u0103 petrecut\u0103 \u00een anii \u00een\n1913. Gregorio Valero Contreras \u0219i Le\u00f3n S\u00e1nchez Gasc\u00f3n, prieteni \u0219i vecini \u00een\nOsa de La Vega (Cuenca), sunt aresta\u021bi pentru moartea lui Jos\u00e9 Mar\u00eda Grimaldos\nL\u00f3pez, care a disp\u0103rut f\u0103r\u0103 urm\u0103 din sat. S\u0103tenii \u0219i autorit\u0103\u021bile \u00eei acuz\u0103 pe\ncei doi, chiar dac\u0103 nu se bazeaz\u0103 pe probe concludente. \u00cen urma torturii la\ncare sunt supu\u0219i, cei doi b\u0103rba\u021bi ajung \u00een cele din urm\u0103 s\u0103 admit\u0103 crima. <\/p>\n\n\n\n<p>\u0218i filmul semnat de <a><strong>Josefina\nMolina<\/strong><\/a>, documentarul <em>Funci\u00f3n de noche<\/em> (1981), adaptare a\nromanului <em>Cinci ore cu Mario <\/em>de Miguel Delibes, este legat de un\neveniment istoric \u00een Spania, adoptarea Legii divor\u021bului. Actri\u021ba Lola Herrera\njoac\u0103 \u00een fiecare noapte textul <em>Cinci ore cu Mario <\/em>\u0219i are ocazia s\u0103-\u0219i\nanalizeze \u00een profunzime personajul interpretat, Carmen Sotillo, \u0219i asem\u0103n\u0103rile\npe care le vede \u00eentre via\u021ba acestuia \u0219i propria via\u021b\u0103. \u00cenchi\u0219i \u00een cabinele lor,\nLola Herrera \u0219i Daniel Dicenta, desp\u0103r\u021bi\u021bi dup\u0103 c\u00e2\u021biva ani de c\u0103s\u0103torie, poart\u0103\no conversa\u021bie despre via\u021ba lor \u00een comun \u0219i evolu\u021bia lor ca indivizi. Punerea \u00een\nscen\u0103 a textului <em>Cinci ore cu Mario<\/em> \u00een anii 80, cu rolul principal\nde\u021binut de Lola Herrera, i-a oferit ocazia regizoarei Josefina Molina s\u0103\nrealizeze un experiment cu not\u0103 documentar\u0103 inedit\u0103, ce se axeaz\u0103 pe educa\u021bia\nsentimental\u0103 a genera\u021biei postbelice spaniole. Asem\u0103n\u0103rile \u0219i deosebirile \u00eentre\nactri\u021b\u0103 \u0219i pesonajul pe care \u00eel interpreteaz\u0103 stabilesc o paralel\u0103 cu\n\u00eent\u00e2lnirea cu fostul ei so\u021b, cu care are o conversa\u021bie cathartic\u0103, ce scoate la\niveal\u0103 r\u0103nile \u0219i traumele. <\/p>\n\n\n\n<p>Dac\u0103 Josefina Molina jongleaz\u0103 cu grani\u021ba \u00eentre documentar\n\u0219i fic\u021biune, propunerea <strong>Ceciliei Bartolom\u00e9 <\/strong>merge \u00een direc\u021bia\ndocumentarului pur.&nbsp; <em>Despu\u00e9s de\u2026<\/em>\n(1981), format din dou\u0103 p\u0103r\u021bi, <em>No se os puede dejar solos<\/em> \u0219i <em>Atado y bien\natado<\/em>, este regizat \u00eempreun\u0103 cu Juan Jos\u00e9 Bartolom\u00e9, \u00eenceput la trei\nani dup\u0103 moartea lui Franco \u0219i terminat cu o lun\u0103 \u00eenainte de \u00eencercarea e\u0219uat\u0103\nde lovitur\u0103 de stat din 23 februarie 1981. Filmul puncteaz\u0103 c\u00e2teva\nelemente-cheie ale crizei sociale \u0219i politice cu care se confrunt\u0103 democra\u021bia\nspaniol\u0103, care trebuie s\u0103 fac\u0103 fa\u021b\u0103 schimb\u0103rilor dup\u0103 moartea lui Franco,\nreac\u021biilor cet\u0103\u021benilor \u00een fa\u021ba noii situa\u021bii \u0219i problemelor iscate de o\ndemocra\u021bie n\u0103scut\u0103 brusc din dictatura anterioar\u0103. Un mic grup de cinea\u0219ti, ai\nc\u0103ror lideri sunt fra\u021bii Bartolom\u00e9, a ie\u0219it \u00een strad\u0103, \u00een plin\u0103 tranzi\u021bie,\npentru a aduna opiniile politicienilor \u0219i cet\u0103\u021benilor cu privire la \u021bara pe\ncale s\u0103 dezvolte. Documentarul d\u0103 glas \u0219i \u00eengrijor\u0103rilor din diferite medii ale\nsocie\u021b\u0103\u021bii spaniole \u00een perioada de \u00eenceput a democra\u021biei cu privire la viitorul\ns\u0103u, \u00eenc\u0103 persist\u00e2nd teama de un segment ultraconservator care s-ar opune\nconstruc\u021biei unei \u021b\u0103ri diferite \u0219i care deja prevestea tentativa de lovitur\u0103 de\nstat din februarie 1981. Filmul a putut fi difuzat abia \u00een 1983 \u0219i reprezint\u0103 o\nborn\u0103 \u00een dezvoltarea spectaculoas\u0103 pe care avea s\u0103 o \u00eenregistreze genul\ndocumentarului \u00een Spania. <\/p>\n\n\n\n<p>Indiferent de genul \u00een care se \u00eencadreaz\u0103 filmele celor\ncinci regizoare, ele constituie un punct de reper al cinematografiei spaniole, contribuind\nla \u00een\u021belegerea profund\u0103 a unei societ\u0103\u021bi aflate la \u00eenceputul unei democra\u021bii\ncare avea s\u0103 \u00eenfloreasc\u0103 \u00een cel mai frumos mod.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Luna femeii este s\u0103rb\u0103torit\u0103 la Institutul Cervantes cu o serie de filme care aduc \u00een aten\u021bia publicului c\u00e2teva dintre numele emblematice ale regiei semnate de femei: Margarita Alexandre, Cecilia Bartolom\u00e9, Ana Mariscal, Pilar Mir\u00f3 \u0219i Josefina Molina \u2013 Espacio femenino. Pioneras. \u00centr-o Spanie care abia ie\u0219ea din R\u0103zboiul Civil, Ana Mariscal vine cu o proponere [&hellip;]<\/p>\n","protected":false},"author":311,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/posts\/1382"}],"collection":[{"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/users\/311"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/comments?post=1382"}],"version-history":[{"count":3,"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/posts\/1382\/revisions"}],"predecessor-version":[{"id":1394,"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/posts\/1382\/revisions\/1394"}],"wp:attachment":[{"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/media?parent=1382"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/categories?post=1382"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/bucarest\/wp-json\/wp\/v2\/tags?post=1382"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}