{"id":68832,"date":"2021-03-11T14:39:09","date_gmt":"2021-03-11T13:39:09","guid":{"rendered":"https:\/\/laindependent.cat\/lesbianes-de-cine-beneides-sien\/"},"modified":"2023-07-24T18:33:53","modified_gmt":"2023-07-24T16:33:53","slug":"lesbianes-de-cine-beneides-sien","status":"publish","type":"post","link":"https:\/\/laindependent.cat\/en\/lesbianes-de-cine-beneides-sien\/","title":{"rendered":"Lesbianes de cine, bene\u00efdes sien"},"content":{"rendered":"

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

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

<\/span>
Deux la salven les espl\u00e8ndides Barbara Sukowa i Martine Chevallier en unes actuacions memorables.\u00a0<\/span>\u00c9s curiosa la tend\u00e8ncia a traduir el t\u00edtol de pel.l\u00edcules que narren amors de gaies dones \u2014sobre lesbianes, vaja\u2014 com Entre nosotras.<\/span><\/strong><\/p>\n

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Aix\u00ed van traduir la magn\u00edfica i refrescant Coup de foudre (Fran\u00e7a, 1982) de l’estupenda directora Diane<\/strong> Kurys<\/strong>. Ara hi han tradu\u00eft Deux (Fran\u00e7a, 2019) de Filippo Meneghetti<\/strong>. Traducci\u00f3 que les presenta com si visquessin al marge i apartades de la resta del m\u00f3n, recloses en un m\u00f3n propi i limitat; potser per aix\u00f2 no tradueixen com Entre nosotros films d’homosexuals masculins.<\/span><\/p>\n

Si Coup de foudre estava protagonitzada per dues actrius fora de mida, Miou-Miou<\/strong> i Isabelle Huppert<\/strong>, Deux la salven ho est\u00e0 per les espl\u00e8ndides Barbara Sukowa<\/strong> i Martine Chevallier<\/strong> en unes actuacions memorables.<\/span><\/p>\n

<\/span>Perqu\u00e8 Deux \u00e9s una pel.l\u00edcula t\u00f2pica. En primer lloc \u2014com \u00e9s habitual quan l’amor entre dones no t\u00e9 com a objectiu escalfar la l\u00edbido masculina\u2014, presenta l’amor entre dones a partir sobretot de la tendresa (per cert, que mai no falti), postul.la un amor exempt, o gaireb\u00e9, de sexualitat.<\/span><\/p>\n

Si aix\u00f2 passa fins i tot a films que no parlen de velles sin\u00f3 de dones madures com el fallit Los chicos est\u00e1n bien (EUA, 2010) de Lisa Chodolenko<\/strong> \u2014directora, d’altra banda, de la meravellosa High Art (EUA, 1998)\u2014, perqu\u00e8 a Los chicos est\u00e1n bien (els “chicos” s\u00f3n una noia i un noi) les protagonistes, unes altres actrius d’upa, Annette Bening<\/strong> i Julianne Moore<\/strong> no fan l’amor ni un sol cop.<\/span><\/p>\n

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Lee la noticia<\/span><\/strong><\/p>\n

No ha d’estranyar, doncs, que la sexualitat no comparegui en una pel.l\u00edcula protagonitzada per dues velles; Chevallier \u00e9s del 1949 i Sukowa del 1950. Si ja \u00e9s dif\u00edcil en general abordar la sexualitat femenina quan no fa de mirall per a la masculina, pensar que la sexualitat femenina va bastant m\u00e9s enll\u00e0 del 70\u2014dos anys \u00e9s propi nom\u00e9s de ments ben obertes \u2014i de lesbianes\u2014.<\/span><\/p>\n

En segon lloc, era i \u00e9s, en algunes obres encaram un altre t\u00f2pic en la literatura, en el cine, castigar durament les dones que se surten dels papers prescrits pel patriarcat; en especial les que desafien l’heterosexualitat. Segles de tradici\u00f3 masculina ho fonamenten. Per tant, fins no fa gaire eren escasses les novel.les, els films de lesbianes que simplement acabaven b\u00e9. Les dues de Deux, cadascuna a la seva manera, s\u00f3n castigades amb el sever vessament cerebral d’una d’elles.<\/span><\/p>\n

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No fa gaire eren escasses les novel.les, els films de lesbianes que simplement acabaven b\u00e9<\/span><\/em><\/strong><\/p>\n

La punici\u00f3 la trobem en for\u00e7a film. Sense anar m\u00e9s lluny, a l’abans citada Coup de foudre, o en una pel.licula recent, Freeheld, un amor incondicional (EUA, 2015) de Peter Sollett<\/strong>, amb Julianne Moore <\/strong>i<\/span>\u00a0<\/strong>Ellen<\/strong> (actualment, Elliot<\/strong>) Page<\/strong> de protagonistes. Ara b\u00e9, tenint en compte la fru\u00efci\u00f3 de Hollywood i d’altres festivals per les xacres, les desgr\u00e0cies i les discapacitats \u00e9s possible que l’atac de feridura vagi a favor del film.<\/span><\/p>\n

En tercer lloc, tots els personatges secundaris s\u00f3n plans, sense cap relleu ni gaireb\u00e9 evoluci\u00f3, una colla uniformement carca i hom\u00f2foba. Aix\u00f2 fa, per\u00f2, que la pel.l\u00edcula situ\u00ef l’estretor de mires no en les velles sin\u00f3 en gent m\u00e9s jove que elles \u2014quantes mares no hem vist atorrollades i culpabilitzades en aquesta tessitura; quants fills i filles no estan “a favor” de l’homosexualitat, per\u00f2 de la de la seva mare ni parlar-ne\u2014. Tamb\u00e9 hi ha una pinzellada sobre l’extrema medicalitzaci\u00f3 de la vellesa.<\/span><\/p>\n

Hi ha alguns forats al gui\u00f3. \u00c9s dif\u00edcil creure l’absolut desconeixement no ja de la relaci\u00f3 sin\u00f3 de l’exist\u00e8ncia d’una de les protagonistes per part de la fam\u00edlia de l’altra despr\u00e9s d’un munt d’anys i un grapat de viatges juntes, per molt que visquin al mateix repl\u00e0.<\/span><\/p>\n

Gui\u00f3 que d’altra banda, t\u00e9 una tirada al sa suspens, a una intriga que en molts moments et fa estar amb l’ai al cor. Tamb\u00e9 est\u00e0 ben portat l’absolut contrast entre l’aparent par\u00e0l.lisi d’una de les protagonistes (quina manera d’expressar sense moure un muscle!) i la gosadia apassionada, un aut\u00e8ntic volc\u00e0, de la seva parella; cosa que augura una rica i plena vida sexual.<\/span><\/p>\n

El final t\u00e9 un toc de Thelma<\/strong> & Louise<\/strong> (EUA, 1991) de Ridley Scott<\/strong><\/a>, protagonitzada per dues altres de les grans, Susan Sarandon<\/strong> i Geena Davis<\/strong>, convenientment castigades tamb\u00e9 per les seves transgressions. Aix\u00f2 s\u00ed, a Deux, les dues dones, la parella, no s’estimba. Que tinguin una llarga vida, tota la tendresa del m\u00f3n i la sexualitat que els vingui de gust.<\/span><\/p>\n

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*Publicat a Huffington<\/span><\/p>\n

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

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