{"id":63058,"date":"2016-03-17T19:40:22","date_gmt":"2016-03-17T18:40:22","guid":{"rendered":"https:\/\/laindependent.cat\/una-retrospectiva-des-del-record-chantal-akerman-2\/"},"modified":"2016-03-17T19:40:22","modified_gmt":"2016-03-17T18:40:22","slug":"una-retrospectiva-des-del-record-chantal-akerman-2","status":"publish","type":"post","link":"https:\/\/laindependent.cat\/es\/una-retrospectiva-des-del-record-chantal-akerman-2\/","title":{"rendered":"Una retrospectiva des del record: Chantal Akerman"},"content":{"rendered":"<p>\u00a0<\/p>\n<p>No hay traducci\u00f3n disponible<\/p>\n<p style=\"text-align: center;\"><img decoding=\"async\" class=\"size-full wp-image-31924 lazyload\" style=\"--smush-placeholder-width: 198px; --smush-placeholder-aspect-ratio: 198\/132;display: block; margin-left: auto; margin-right: auto;\" data-src=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._Saute-ma-ville.jpg\" alt=\"Ch. A. Saute-ma-ville\" width=\"198\" height=\"132\" data-srcset=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._Saute-ma-ville.jpg 400w, https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._Saute-ma-ville-300x200.jpg 300w\" data-sizes=\"(max-width: 198px) 100vw, 198px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" \/><span style=\"font-size: 8pt;\">Fotograma <span style=\"font-family: trebuchet ms,geneva;\"><em>Saute ma ville<\/em><\/span><\/span><br \/><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\"><\/span><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\"><\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\"><strong>La Mostra Internacional de Films de Dones (MIFDB) al llarg de les seves 24 edicions, ha ofert un recorregut per la filmografia d&#8217;aquesta autora que de manera clarament sincera va transitar per totes les fronteres dels g\u00e8neres cinematogr\u00e0fics.<\/strong> <\/span><\/p>\n<p><!--more--><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">La fidelitat en la programaci\u00f3 per part de la MIFDB ha estat un reconeixement a l&#8217;obstinada intenci\u00f3 creativa de la seva obra expressada a partir d&#8217;un amor solemne per la c\u00e0mera, pel muntatge, per la posada en forma de cada pla, pel so expressiu , dieg\u00e8tic i extradieg\u00e8tic, pel di\u00e0leg extenuant entre el camp i el fora de camp. Una obra que en el seu conjunt explicita el comprom\u00eds amb un cinema que \u00e9s capa\u00e7 de conjugar totes les sintaxis f\u00edlmiques possibles, tot els colors dels g\u00e8neres, oberta, i cr\u00edptica, de vegades per\u00f2 sempre renascuda en cada nova intenci\u00f3 f\u00edlmica. Del musical, a la performance, de la com\u00e8dia al drama i per descomptat de la ficci\u00f3 al documental, tot tensionant els l\u00edmits d&#8217;ambd\u00f3s registres, m\u00e8todes o sistemes, fins a desdibuixar-ne les difer\u00e8ncies.<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">Hem anat seguint-la passant d&#8217;una sorpresa a una altra, tant retrospectivament com a futur, veient el que havia produ\u00eft durant els anys setanta i vuitanta i tamb\u00e9 atentes al que sortia dels seus dits de muntadora i directora en aquests darrers i convulsos 2000.<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">Cadascuna de les seves obres es presenta com un repte a la nostra capacitat de comprensi\u00f3 per l&#8217;exig\u00e8ncia expl\u00edcita i impl\u00edcita d&#8217;esdevenir un exercici complet de comprom\u00eds amb la sinceritat de l&#8217;enunciaci\u00f3 f\u00edlmica en sintonia amb el tema que pret\u00e9n tractar.<\/span><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\"><img fetchpriority=\"high\" decoding=\"async\" class=\" size-full wp-image-31925\" style=\"display: block; margin-left: auto; margin-right: auto;\" src=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._No-home-movie-copia-1.jpg\" alt=\"Ch. A. No-home-movie-copia-1\" width=\"318\" height=\"169\" srcset=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._No-home-movie-copia-1.jpg 400w, https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._No-home-movie-copia-1-300x159.jpg 300w\" sizes=\"(max-width: 318px) 100vw, 318px\" \/><\/span><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 8pt;\">Fotograma de <span style=\"font-family: trebuchet ms,geneva;\"><em>No home movie<\/em><\/span><\/span><\/p>\n<p style=\"text-align: center;\">\u00a0<\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 8pt;\"><span style=\"font-family: trebuchet ms,geneva;\"><em><img decoding=\"async\" class=\"alignleft size-full wp-image-31926 lazyload\" style=\"--smush-placeholder-width: 262px; --smush-placeholder-aspect-ratio: 262\/191;float: left;\" data-src=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._La-chambre-2.jpg\" alt=\"Ch. A. La-chambre-2\" width=\"262\" height=\"191\" data-srcset=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._La-chambre-2.jpg 400w, https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._La-chambre-2-300x220.jpg 300w\" data-sizes=\"(max-width: 262px) 100vw, 262px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" \/><\/em><\/span><\/span><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">\u00a0\u00a0\u00a0\u00a0 <img decoding=\"async\" class=\"alignright size-full wp-image-31927 lazyload\" style=\"--smush-placeholder-width: 268px; --smush-placeholder-aspect-ratio: 268\/201;float: right;\" data-src=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._Je-tu-il-elle-2.jpg\" alt=\"Ch. A. Je-tu-il-elle-2\" width=\"268\" height=\"201\" data-srcset=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._Je-tu-il-elle-2.jpg 400w, https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Ch._A._Je-tu-il-elle-2-300x225.jpg 300w\" data-sizes=\"(max-width: 268px) 100vw, 268px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" \/><\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\"><strong><span style=\"font-family: trebuchet ms,geneva; font-size: 8pt;\">Fotograma <span style=\"font-family: trebuchet ms,geneva;\"><em>Saute ma ville<\/em><\/span><\/span><\/strong><\/span><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: right;\"><strong><span style=\"font-family: trebuchet ms,geneva; font-size: 8pt;\">Fotograma <span style=\"font-family: trebuchet ms,geneva;\"><em>Je tu il elle<\/em><\/span><\/span><\/strong><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">A cada film hi ha una voluntat de confrontar-se amb el llenguatge, per aconseguir l&#8217;efecte de les seves troballes: que TOT sigui pensat des del pla fixe d&#8217;un arbre mogut de manera cont\u00ednua pel vent a <em>No home movie<\/em>, una cambra enquadrada amb un dels plans m\u00e9s antit\u00e8ticament pornogr\u00e0fic que mai s&#8217; hagi vist al cinema, que acull un encontre sexual l\u00e8sbic, a <em>Je tu il elle<\/em>; que una panor\u00e0mica introspectiva d&#8217;un desig \u00edntim, a <em>La Chambre<\/em>,cobreixi el per\u00edmetre visual a un tempo entrebancat, la frontalitat hipn\u00f2tica de la m\u00edtica i antiel.l\u00edptica <em>Jeanne Dielma<\/em>; la claustrof\u00f2bia interior i el col\u00b7lapse de la seguretat front a la llibertat, a <em>L\u00e0 bas<\/em>; com l&#8217;experi\u00e8ncia de l&#8217;alterirat i la significaci\u00f3 dels l\u00edmits i les invisibilitats de classe, \u00e8tnia i sexe.. El tema sembla secundari per\u00f2 no ho \u00e9s en cap dels seus films. El que cal es sumar el com, que esdev\u00e9 en gran part de la seva obra, el camp d&#8217;acci\u00f3 i de sentit, la batalla lliurada amb la convenci\u00f3 de semblan\u00e7a que el cinema cl\u00e0ssic imposa com el c\u00e0non de la percepci\u00f3.<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">De vegades,en els films d&#8217;<strong>Akerman<\/strong> ressona aquell <em>A rose is a rose is a rose<\/em> de <strong>Gertrud Stein<\/strong>,un anhel de resemantitzar all\u00f2 que tantes vegades hem anomenat de passada, vist dins un paisatge, una casa a\u00efllada, una habitaci\u00f3 pr\u00f2pia o aliena, una cuina, una espatlla, un llarg cam\u00ed, un espai comercial, un cercle d&#8217;amigues i amics, la mare.<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">No es tracta que tingu\u00e9s una mirada m\u00e9s o menys intensa, blava o verda, tan se val, la seva forma de estar parlant cinematogr\u00e0ficament en el m\u00f3n del cinema (si se&#8217;m permet la redund\u00e0ncia) era d&#8217;una estricta radicalitat sint\u00e0ctica.<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\">La sel\u00b7lecci\u00f3 del films i sessions programades aquestes setmanes de mar\u00e7 a la Filmoteca de Catalunya, ha estat pensada per part de la MIFDB com una proposta de recorregut al voltant del que van ser en gran part els seus grans debats estil\u00b7l\u00edstics i tem\u00e0tics de la cineasta amb una obertura i cloenda i amb dos films emblem\u00e0tics <em>Saute ma ville<\/em> i <em>No home movie<\/em>. Els dos s\u00f3n paradigm\u00e0tics d&#8217;un di\u00e0leg debat \u00edntim de la directora amb la figura materna que resulta interpel\u00b7lada i convocada, reptada i volguda i rebutjada i estimada fins al darrer pla de la seva cinematografia. Perqu\u00e8 com <strong>Chantal Akerman<\/strong> reconeixia, sempre havia filmat tenint en compte la seva mare i molt sovint contra ella.<\/span><\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\">\u00a0<\/p>\n<p style=\"text-align: left;\"><span style=\"font-family: trebuchet ms,geneva; font-size: 10pt;\"><img decoding=\"async\" class=\"size-full wp-image-31928 lazyload\" style=\"--smush-placeholder-width: 400px; --smush-placeholder-aspect-ratio: 400\/400;display: block; margin-left: auto; margin-right: auto;\" data-src=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Collage_Akerman_films.jpg\" alt=\"Collage Akerman films\" width=\"400\" height=\"400\" data-srcset=\"https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Collage_Akerman_films.jpg 400w, https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Collage_Akerman_films-300x300.jpg 300w, https:\/\/laindependent.cat\/wp-content\/uploads\/2016\/03\/Collage_Akerman_films-150x150.jpg 150w\" data-sizes=\"(max-width: 400px) 100vw, 400px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" \/><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a0 No hay traducci\u00f3n disponible Fotograma Saute ma ville \u00a0 La Mostra Internacional de Films de Dones (MIFDB) al llarg de les seves 24 edicions, ha ofert un recorregut per la filmografia d&#8217;aquesta autora que de manera clarament sincera va [&hellip;]<\/p>\n","protected":false},"author":72,"featured_media":31924,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26508],"tags":[37521,37520],"class_list":["post-63058","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cine","tag-filmografia","tag-mifdb"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Una retrospectiva des del record: Chantal Akerman | La Independent<\/title>\n<meta name=\"description\" content=\"\u00a0 No hay traducci\u00f3n disponible Fotograma Saute ma ville \u00a0 La Mostra Internacional de Films de Dones (MIFDB) al llarg de les seves 24 edicions, ha ofert un\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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