{"id":67433,"date":"2019-11-12T16:01:51","date_gmt":"2019-11-12T15:01:51","guid":{"rendered":"https:\/\/laindependent.cat\/celine-sciamma-retrat-en-flames\/"},"modified":"2024-01-02T14:13:42","modified_gmt":"2024-01-02T13:13:42","slug":"celine-sciamma-retrat-en-flames","status":"publish","type":"post","link":"https:\/\/laindependent.cat\/en\/celine-sciamma-retrat-en-flames\/","title":{"rendered":"C\u00e9line Sciamma. Retrat en flames"},"content":{"rendered":"

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

Quin privilegi anar al cine i veure una pel.l\u00edcula que no tan sols regalima seny i sentiment, sin\u00f3 que sacseja est\u00e8ticament i commou fins al moll dels ossos.<\/span><\/strong><\/p>\n

<\/p>\n

Estic parlant de Retrato de una mujer en llamas (Fran\u00e7a, 2019) de C\u00e9line Sciamma<\/strong>, directora a qui vam con\u00e8ixer per la magn\u00edfica Tomboy<\/em> (Fran\u00e7a, 2011)<\/a>, per\u00f2 que ja anteriorment havia rodat un altre potent film, Naissance des pieuvres<\/em> (Fran\u00e7a, 2007), que no s’ha estrenat aqu\u00ed i que t\u00e9 alguna concomit\u00e0ncia \u2014malgrat la dist\u00e0ncia geogr\u00e0fica, temporal i argumental\u2014 amb Retrato de una mujer en llamas.<\/span><\/p>\n

Situada el 1770 a la Bretanya, Marianne<\/strong> (No\u00e9mie Merlant<\/strong>) \u00e9s una pintora contractada per realitzar el retrat d’esposalles d’H\u00e9lo\u00efse<\/strong> (Ad\u00e9le Haenel<\/strong>). Una jove a qui acaben de treure del convent (espai on podia llegir, cantar i escoltar m\u00fasica) perqu\u00e8 sa germana ha mort \u2014coses com aquestes passaven aqu\u00ed no fan tant de temps). H\u00e9lo\u00efse rebutja un dest\u00ed que passa pel matrimoni i es nega a posar, per la qual cosa Marianne s’ha de fer passar per dama de companyia i ha de treballar en secret.<\/span><\/p>\n

Intel.lig\u00e8ncia i passi\u00f3<\/span><\/strong><\/p>\n

Segons com es podria dir que \u00e9s una pel.l\u00edcula rara at\u00e8s que hi passen coses poc habituals tot i ser ben presents i normals al m\u00f3n. Les protagonistes s\u00f3n extremament intel.ligents \u2014concentrades, m\u00e9s que entotsolades\u2014; mostren criteri i decisi\u00f3 (nom\u00e9s cal veure a qu\u00e8 est\u00e0 disposada Marianne per salvar els estris de pintar o com H\u00e9lo\u00efse tempta la mar); plantegen sense embuts q\u00fcestions liter\u00e0ries i filos\u00f2fiques, \u00e9s el preu de la llibertat la sol.litud?; una de les protagonistes triga m\u00e9s de vint minuts a treure-hi el nas (en aquest cas, els cabells); no somriuen fins al cap de m\u00e9s d’una hora (perqu\u00e8 cal ser almenys dues i cal tenir-ne un motiu). Una pel.l\u00edcula trepidant i de moviments de fons tot i que aparentment no hi passi gaireb\u00e9 res.<\/span><\/p>\n

M\u00fasica i ritme<\/span><\/strong><\/p>\n

Paradoxalment, en una pel.l\u00edcula filmada a punta seca \u2014\u00e9s a dir, sense m\u00fasica\u2014, la m\u00fasica hi \u00e9s b\u00e0sica i fonamental. Tant L’hivern, el quart concert de Les quatre estacions d’Antonio Vivaldi<\/strong>, quina lli\u00e7\u00f3 de m\u00fasica!, com el curt c\u00e0non de les bruixes \u2014una salm\u00f2dia subjugant\u2014 hi s\u00f3n dos protagonistes m\u00e9s. El ritme, per tant, el marca la remor de les ones, els espeternecs del foc, el comp\u00e0s dels trepigs, les cad\u00e8ncies dels al\u00e8s, l’embat del vent; tamb\u00e9 l’ordre i disposici\u00f3 de les seq\u00fc\u00e8ncies, el contrast entre foc i aigua, els canvis de llum, el pas de l’exterior a l’interior i viceversa, la dansa titil.lant, incerta, dels ciris en flama.<\/span><\/p>\n

Dones que fumen (i llegeixen)<\/span><\/strong><\/p>\n

En aquest m\u00f3n de dones en qu\u00e8 els homes no es troben a faltar \u2014hi s\u00f3n totalment accessoris, accidentals i impliquen sobretot el perill\u2014, hi neix, poc a poc per\u00f2 inexorable i ineluctable l’amor, i un desig que \u00e9s gran i creix. Gest a gest, passeig a passeig, pinzellada a pinzellada. Mirada a mirada. Mirades fugisseres, mirades a plom, mirades retornades, mirades greus, mirades interrogadores, mirades rialleres, mirades sostingudes, mirades plet\u00f2riques. Paraula rere paraula, concepte rere concepte desgranats en un gui\u00f3 d’una densitat hipn\u00f2tica. No \u00e9s estrany que guany\u00e9s el premi al millor gui\u00f3 al passat festival de Cannes \u2014si exist\u00eds el de millors di\u00e0legs, tamb\u00e9 l’hauria hagut de guanyar\u2014; de fet, sonava per al premi a millor film. I com que no soc una esgarriacries no dir\u00e9 els referents que Sciamma utilitza per universalitzar l’amor que senten les protagonistes, profund, malgrat que l’expressin tan contingudament i sense cap sentimentalisme.<\/span><\/p>\n

Butxaques i vestits<\/span><\/strong><\/p>\n

En aquesta pel.l\u00edcula tot t\u00e9 sentit i de tot es t\u00e9 cura al mil.l\u00edmetre. El vestit verd de \u00abser pintada\u00bb \u00e9s, plec a plec, mat\u00eds a mat\u00eds, tota una declaraci\u00f3 de principis, que ja se sap que quan el set\u00ed es torna gel, sembla que es faci de flama. Les protagonistes, la minyona, Sophie,<\/strong> i la mare d’H\u00e9lo\u00efse van d’uniforme at\u00e8s que amb un sol vestit n’hi ha prou per categoritzar el que cadascuna representa. Com fa notar la directora, la pintora duu butxaques al vestit. No \u00e9s ni trivial ni un anacronisme, a l’\u00e8poca en portaven. Es van prohibir al segle XIX perqu\u00e8 no volien que les dones amaguessin res. Encara ara les butxaques de les dones s\u00f3n m\u00e9s escasses i petites (i in\u00fatils i inc\u00f2modes) que les dels homes.<\/span><\/p>\n

Artistes a dojo<\/span><\/strong><\/p>\n

La pintora s’emmiralla en una creadora reconeguda, amb Elisabeth Vig\u00e9e Le Brun<\/strong> (1755-1842); algun di\u00e0leg s’hi inspira directament. La directora ret homenatge aix\u00ed no tan sols a Vig\u00e9e Le Brun \u2014presentada sovint com a excepci\u00f3\u2014 sin\u00f3 a l’esplet de pintores de qui no se sol cantar ni gall ni gallina com Marie-Suzanne Giroust<\/strong> (1734-1772), Marie-Th\u00e9r\u00e8se Reboul<\/strong> (1728-1805), Anne Vallayer-Coster<\/strong> (1744-1818), Marguerite G\u00e9rard<\/strong> (1761-1837)…, per citar-ne nom\u00e9s un grapat d’entre les franceses. Conjura la tristesa i el dolor d’aquestes obres i artistes condemnades al secret o, si m\u00e9s no, a l’ombra; aquest furt fraudulent.<\/span><\/p>\n

(Arran del passeig espacial de les astronautes Christina Koch<\/strong> i Jessica Meir<\/strong> el passat dia 18, Donald Trump<\/strong> hi va contactar per felicitar-les i va dir que era la primera vegada que una astronauta passejava per l’espai \u2014b\u00e9, de fet, van sortir-hi a reparar un giny\u2014, Meir el va haver de corregir: era la dona n\u00famero quinze que en feia un. La primera va ser la russa Svetlana Sav\u00edtskaia<\/strong> el 1984. No fem cap favor a cap dona obliterant les anteriors; al contrari, la deixem a la intemp\u00e8rie i \u00f2rfena de tradici\u00f3, precedents i hist\u00f2ria, i tant que ens calen!)<\/span><\/p>\n

Una illa, un oasi<\/span><\/strong><\/p>\n

Una illa pot ser un infern per\u00f2 no pas en aquest cas. Aquest microcosmos permet a unes dones \u2014que no per manca d’homes se’n diu que estiguin soles i ja era hora (les astronautes Koch i Meir, malgrat el que alguns mitjans han afirmat, no van sortir soles a l’espai: l’una anava amb l’altra; s’acompanyaven m\u00fatuament)\u2014 con\u00e8ixer d’altres dones, un conjunt de bruixes s\u00e0vies de diverses edats i sabers, aix\u00ed com fer esment de la viol\u00e8ncia dels embarassos no desitjats i, per tant, reivindicar el dret al propi cos. Viure en una sororitat que en certa manera dilueix les classes. H\u00e9lo\u00efse, malgrat tot, hi inclou sa mare quan li fa un pet\u00f3 juganer, alat, ple de tendresa.<\/span><\/p>\n

Sciamma regala, en definitiva, a Marianne i a H\u00e9lo\u00efse \u2014i de retruc a nosaltres\u2014, en una illa que \u00e9s un parad\u00eds, cinc dies de tranquil.litat, passi\u00f3, benestar, felicitat, completitud i plaer abans de plegar-se a un mandat patriarcal presentat com a indefugible.<\/span><\/p>\n

Finals<\/span><\/strong><\/p>\n

La pel.l\u00edcula t\u00e9 com a m\u00ednim tres finals: l’argumental i un per a cadascuna de les dues protagonistes en qu\u00e8 l’altra hi t\u00e9 un paper destacat. El de Marianne est\u00e0 marcat per la pintura i la incapacitat dels homes, d’alguns homes, per detectar la pot\u00e8ncia, la inventiva i el talent de les dones. El d’H\u00e9lo\u00efse ple de m\u00fasica i d’un esclat de ll\u00e0grimes que \u00e9s alhora tristesa i plenitud i joia. I un cop m\u00e9s la mirada.<\/span><\/p>\n

En paral.lel a aquell dilema que planteja qu\u00e8 \u00e9s m\u00e9s fort, si el desig o la consecuci\u00f3, la consumaci\u00f3 del desig, la pel.l\u00edcula s’interroga sobre si \u00e9s preferible l’amor o un amor que viu i perviu, que s’expandeix i s’inflama flamejant en el record.<\/span><\/p>\n

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\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0\u00a0 \u00a0 \u00a0 OPINI\u00d3 Quin privilegi anar al cine i veure una pel.l\u00edcula que no tan sols regalima seny i sentiment, sin\u00f3 que sacseja est\u00e8ticament i commou fins al moll dels ossos.<\/p>\n","protected":false},"author":59,"featured_media":35972,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26636],"tags":[],"class_list":["post-67433","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinio-apoderament-i-lideratge"],"yoast_head":"\nC\u00e9line Sciamma. 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