{"id":59073,"date":"2013-09-26T14:57:17","date_gmt":"2013-09-26T12:57:17","guid":{"rendered":"https:\/\/laindependent.cat\/la-mascara-de-carn\/"},"modified":"2013-09-26T14:57:17","modified_gmt":"2013-09-26T12:57:17","slug":"la-mascara-de-carn","status":"publish","type":"post","link":"https:\/\/laindependent.cat\/en\/la-mascara-de-carn\/","title":{"rendered":"La m\u00e0scara de carn*"},"content":{"rendered":"

\n

Eul\u00e0lia Lled\u00f3 (foto de Maria Roig)<\/span><\/p>\n

OPINI\u00d3<\/strong><\/p>\n

Poc despr\u00e9s de la magn\u00edfica Tomboy<\/em><\/a> (2011) de la directora francesa C\u00e9line Sciamma<\/strong>, vaig tenir l’oportunitat de veure Laurence Anyways<\/em><\/a> (2012), del realitzador canadenc Xavier Dolan<\/strong>, que em fa l’efecte que va aguantar poc a la cartellera de Barcelona malgrat ser un film espl\u00e8ndid. Que jo s\u00e0piga el llargmetratge i el curt anteriors de Sciamma no s’han estrenat aqu\u00ed; tampoc, crec, les altres dues pel.l\u00edcules de Dolan; la primera, de suggestiu t\u00edtol: J’ai tu\u00e9 ma m\u00e8re<\/em> (2009), en la qual, a m\u00e9s, actua.<\/span><\/p>\n

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Si Tomboy<\/em> dibuixava la complexitat de l’acceptaci\u00f3 (o no) de la pr\u00f2pia identitat<\/a> sexual per part d’un infant o, en tot cas, el desconcert d’habitar un cos canviant que no ent\u00e9n ni li agrada, Laurence Anyways<\/em> presenta un protagonista ja adult, un home aparentment fet i dret, que finalment es decideix, vist el malestar cada cop m\u00e9s insuportable que li suposa viure en un cos d’home, a canviar-lo per un de dona li costi el que li costi, al preu que sigui (aquesta metamorfosi no implica un canvi en l’orientaci\u00f3 sexual: li continuen agradant les dones). Destacar\u00e9 dos detalls del primer tram de la pel.l\u00edcula, d’una banda, la tensa per\u00f2 atenta acceptaci\u00f3 de tota l’aula en el moment que veuen el seu professor convertit en una incipient professora: quan, en veure les cares que fan li comen\u00e7a a caure el m\u00f3n a sobre, la pregunta que li fan \u00e9s sobre literatura i no sobre ella\/ell; de l’altra, la m\u00e9s que tensa, violenta, reuni\u00f3 en qu\u00e8 l’acomiaden de la feina. Laurence Anyways<\/em> \u00e9s tamb\u00e9 una dif\u00edcil, complexa i apassionada hist\u00f2ria d’amor; un film que destaca per la seva original textura i ritme, per exemple, a l’hora de presentar els estats d’\u00e0nims dels personatges; per l’\u00fas del color; per la bellesa que desplega que fa que s’hi hagin d’implicar gaireb\u00e9 tots els sentits de qui la mira; per la m\u00fasica.<\/span><\/p>\n

Vaig tancar el cercle no en una sala de cine comercial sin\u00f3 en un dels benaurats festivals de cine de Barcelona, gr\u00e0cies a la 18\u00aa edici\u00f3 de Fire! (aquest any es va esdevenir durant la primera quinzena de juliol) amb l’estrena d’I stand corrected<\/em><\/a>, tamb\u00e9 del 2012, d’Andrea Meyerson<\/strong>. El documental relata amb p\u00e8ls i senyals un canvi de sexe ben real, paral.lel, doncs, al que presenta com a ficci\u00f3 Laurence Anyways<\/em>. La directora exposa fil per randa i des de diferents punts de vista el canvi de sexe d’un prestigi\u00f3s contrabaix de jazz, John Leithman, ara Jennifer Leithman<\/a>. La protagonista \u00e9s fastuosa, explica d’all\u00f2 m\u00e9s b\u00e9 el que li passa, el que sent, per qu\u00e8 fa el que fa i el goig i les joies del canvi, ho fa, per\u00f2, sense embellir-ho ni dissimular cap dolor: les mis\u00e8ries d’una seriosa operaci\u00f3 que, a m\u00e9s, va anar malament; la discriminaci\u00f3 laboral un cop convertida en m\u00fasica (deu ser aix\u00f2: perqu\u00e8 tocar, toca almenys tan b\u00e9 com abans); l’extrema tristor de perdre la parella, una dona, segons Leithman, homof\u00f2bica, ja que no va poder suportar que es convert\u00eds declaradament en dona (en la intimitat ja ho era), perqu\u00e8 aix\u00f2 la transmutava a ella en lesbiana (que, de fet, era el que m\u00e9s s’acostava a la relaci\u00f3 que tenien). Emociona sentir-li explicar que entre un problema de l’operaci\u00f3 i que les hormones li han tret for\u00e7a, ara toca dreta i com aix\u00f2, a m\u00e9s de la m\u00e9s gran sensibilitat que t\u00e9 a les mans (com els peus, igual d’enormes que quan era home) ha fet variar la seva m\u00fasica. Explica la relaci\u00f3 amb la fam\u00edlia, fa especial \u00e8mfasi en l’important lligam amb la mare; un cop m\u00e9s hi ha un n\u00edtid paral.lelisme amb Laurence Anyways<\/em>. Commociona la certesa que tenia que si cantava descobririen que era una dona perqu\u00e8 l’\u00e0nima queda al descobert i que per aix\u00f2 va deixar de fer-ho; com la meravellava que un tipus de dona, nom\u00e9s veure’l, sabia que, de fet, era una dona. Per fi, a m\u00e9s, estem davant una transsexual que no considera que convertir-se en dona impliqui tenir una gestualitat i fer uns escarafalls que les dones no acostumen mai a fer ni, d’altra banda, pujar dalt d’uns talons d’agulla feridors.<\/span><\/p>\n

Dos documents impagables per aproximar-se a l’horror qu\u00e8 deu ser aix\u00f2 de sentir-se empresonada dins un cos equivocat, fins al punt d’emprendre uns llargs i penosos camins sense retorn, en molts casos a trav\u00e9s de doloros\u00edssimes, des de tots els punt de vista, cirurgies, de sotmetre’s a canvis d’una envergadura insondable (el documental Gendernauts<\/em><\/a> (1999) de Monika Treut<\/strong>, que es va veure a Barcelona, crec que el mateix any que es va realitzar, gr\u00e0cies a la benem\u00e8rita Mostra de films de dones, n’\u00e9s tamb\u00e9 un document impagable).<\/span><\/p>\n

Hi ha un moment del documental en qu\u00e8 un m\u00fasic explica que ser homosexual \u00e9s un joc de criatures si es compara amb la magnitud del que deu ser sentir-se dins un cos equivocat, saber-se de l’altre sexe. Les tres pel.l\u00edcules s\u00f3n fascinants –com sentir a cau d’orella la veu d’Andreas Scholl<\/strong> cantant, per exemple, l’Stabat Mater de Vivaldi– perqu\u00e8 et deixen entrellucar la complexitat, la for\u00e7a i la inexorabilitat de la transsexualitat m\u00e9s que no pas fer-te-la entendre: \u00e9s una q\u00fcesti\u00f3 de sentir-ho o no sentir-ho, nom\u00e9s deus poder copsar-ho realment si et passa, si se t’encarna. T’omplen d’interrogants: com deu ser sentir-se del sexe contrari?, quins s\u00f3n els mecanismes que fan que una nena com la de Tomboy<\/em> es decanti per acceptar el seu cos o, per contra, cada cop li sigui m\u00e9s insuportable fins al punt de veure’s impel.lida a canviar-lo?<\/span><\/p>\n

*Article publicat al Hufingtonnpost<\/a>
<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Eul\u00e0lia Lled\u00f3 (foto de Maria Roig) OPINI\u00d3 Poc despr\u00e9s de la magn\u00edfica Tomboy (2011) de la directora francesa C\u00e9line Sciamma, vaig tenir l’oportunitat de veure Laurence Anyways (2012), del realitzador canadenc Xavier Dolan, que em fa l’efecte que va aguantar […]<\/p>\n","protected":false},"author":72,"featured_media":58894,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26506],"tags":[],"class_list":["post-59073","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema"],"yoast_head":"\nLa m\u00e0scara de carn* | La Independent<\/title>\n<meta name=\"description\" content=\"Eul\u00e0lia Lled\u00f3 (foto de Maria Roig) OPINI\u00d3 Poc despr\u00e9s de la magn\u00edfica Tomboy (2011) de la directora francesa C\u00e9line Sciamma, vaig tenir l'oportunitat de\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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