Blood, celluloid and bites, the eternal myth of the vampire starts the year in the cineteca

Few forms of expression are identified so fullly with the vampiric myth as the cinema itself. And we do not refer to the insistence with which the invention o

Blood, celluloid and bites, the eternal myth of the vampire starts the year in the cineteca

Few forms of expression are identified so fullly with the vampiric myth as the cinema itself. And we do not refer to the insistence with which the invention of Lumière has recreated the feats of the Chupasangre, which also, as to its very essence. The cinema, looks (or bite) from where he looks at, is himself the vampiric art of illusion, deception and eternity. Non-age film stars and cameras that record the artifice of filmed life are never reflected in the mirrors. The bite-impering metonimia of the intercourse- with which the vampire appropriates the will of his victim has identical power to that of the screen that, with the hypnotic capacity of him, appropriate the viewer. And here, no doubt, the most obvious and perhaps hidden from the classics of Spanish cinema. Sucking, from Ivan Zulueta, was about heroin, vampirism and, above all and above any other consideration, of cinema. We have arrived.

Well, it is good that the cineteca in the new stage that inaugurates Luis E. Parés Start with a cycle that serves the name of vamparms and that is nothing more than the best of excuses to surrender to the cinema in each and every one From his corners. And of his always bleeding wounds. «The idea», Razona the debutant director, "is that every month turns around an argument that can well be current and extracted from circumstances or ... Quite the opposite». In this case, the circumstance of which extracting an impeccable programming (or very sinful, as looked at) is precisely the re-release of a restored version of the cited film and that so deeply it marked the drift of all the Spanish independent cinema up Our days even (just see the work of Marc Ferrer). «It's an opportunity I think unique to watch the movie on big screen and probably as rarely before. And I speak so much of the quality of projection and the context in which it will be seen ».

Now, the context. First, the premieres. And there are two of the most hidden surprises of the year that ended and that, things of destiny, were about vampiric things. First, the Spanish ribbon Corten!, From the aforementioned Ferrer, who traces a line more than evident with the work of Zulueta both in way and in a manner as a rupturist will. And at his side, the uncompected German tape Bloodsuckers. A Marxist Vampire Story, by Julien Randlmaier. The film is comedy. Of course, it does not renounce terror or much more evident to social criticism. In fact, few monsters define capitalism as well as so neat dissectioned the Karl referred to as the title as the vampire. Count the darkness is the most evident and clear representative of that individualism that subjugates us and with which it is related to both consumption. He (the entire system) directly vampires the resources of society for their own pleasure. He is nothing more than the full metaphor of neoliberalism that sucks the energies accumulated by the Community effort of society. And all this for the hedonistic and happy benefit of a few to whom we all show the neck, because we all aspire to be like them. And so. It is dramatic, but, looked from a distance, it is also pure farce. Comedy therefore.

"But if something characterizes the vampire is that it absorbs the energy of others," Pretty Paids to give entry to the next block. The cinema is more than any other art a bastard job that sucks what you can and want everything that surrounds it. That is why a section dedicated to revealing and facing films that are cited are so timely, they are copied, the juice is subtracted from each other and, if necessary, copulate between them. And so Santiago Fillol turns his Dormez-vous (2010) into a recreation that is also rereading Low Life, Nicolas Klotz and Elisabeth Perceval. And so the duo formed by Vicente Vázquez and Usue Arrieta that calls himself Weareqq reconfigure without shame the ideology of himself and always untouchable Godard. The works of the filmmakers David Sunday, Carmen Haro and Miguel Rodríguez complete this subcicle within the cycle that is also vampirization within the vampire rigor.

To highlight the Big movie, Big, Big of the last two mentioned. Haro and Rodríguez submitted to their retinas and their meninges to a peculiar experiment: see 30 times in a row and without rest the Big film starring in 1988 by Tom Hanks. It has already been said, movies that suck from others. What arises is hypnotic in the despair of obsessed and overwhelmed viewers by the disproportion of its fully useless commitment. And that is there, when the vampire, by force to lose its essence itself, approaches the scope and kingdom of the zombie. But that is another story.

Vampirms advances for the month Giving Modern Classics by Jim Jarmusch, Ana Lily Amirpour, Jim Mickle, Marco Bellocchio, Guy Maddin, Werner Herzog, Albert Serra or Dirk Campbell. And along the way, a new subsection (how many are already already?) Calling archaeologies surprising with a miracle that is also an exercise of justice. See on screen rigorously large the Miss Dracula saga of the essential, unbelievable and unforgettable Antonio Gracia José -More known as Pierrot- is definitely a work that corresponds to a responsible film. Welcome be.

So things, and if there are doubts, nothing like going to listen to David Remartínez Author of a pop story of Vampires (Arpa Editores). He knows everything and everything explains. "We look for a curious cross-sectional audience and not by force only cinéphile," Parés concludes. And we believe you. Love the first bite.

Updated Date: 06 January 2022, 08:49

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