{"id":4665,"date":"2021-07-15T11:55:58","date_gmt":"2021-07-15T11:55:58","guid":{"rendered":"https:\/\/urbe.com.ar\/revista\/?p=4665"},"modified":"2023-06-03T19:15:18","modified_gmt":"2023-06-03T19:15:18","slug":"hay-una-lagrima-sobre-el-telefono","status":"publish","type":"post","link":"https:\/\/urbe.com.ar\/revista\/hay-una-lagrima-sobre-el-telefono\/","title":{"rendered":"Hay una l\u00e1grima sobre el tel\u00e9fono"},"content":{"rendered":"<p>[et_pb_section fb_built=\u00bb1&#8243; disabled_on=\u00bbon|on|on\u00bb _builder_version=\u00bb4.4.8&#8243; disabled=\u00bbon\u00bb][et_pb_row _builder_version=\u00bb4.4.8&#8243;][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.4.8&#8243;][et_pb_text disabled_on=\u00bbon|on|on\u00bb _builder_version=\u00bb4.9.7&#8243; hover_enabled=\u00bb0&#8243; disabled=\u00bbon\u00bb sticky_enabled=\u00bb0&#8243;]Por Cristian Calavia | Viajes en el tiempo, realidades alternativas y misterios sin resolver. Terror y ciencia ficci\u00f3n a la orden del d\u00eda; usamos de excusa el lanzamiento de la serie Llamadas (Calls, 2021) en Apple TV+ y el pr\u00f3ximo estreno de No Respires 2 (Don&#8217;t Breathe 2, 2021) para explorar la carrera del director Fede \u00c1lvarez hasta la fecha.[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; use_custom_gutter=\u00bbon\u00bb gutter_width=\u00bb1&#8243; specialty=\u00bbon\u00bb padding_top_bottom_link_1=\u00bbfalse\u00bb padding_top_bottom_link_2=\u00bbfalse\u00bb padding_left_right_link_1=\u00bbfalse\u00bb padding_left_right_link_2=\u00bbfalse\u00bb padding_left_2=\u00bb1%\u00bb _builder_version=\u00bb4.9.4&#8243; custom_padding=\u00bb0px||0px|||\u00bb][et_pb_column type=\u00bb2_3&#8243; specialty_columns=\u00bb2&#8243; _builder_version=\u00bb3.25&#8243; custom_padding=\u00bb|||\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_row_inner _builder_version=\u00bb4.4.8&#8243; background_color=\u00bb#ffffff\u00bb custom_padding=\u00bb0px||0px|||\u00bb][et_pb_column_inner saved_specialty_column_type=\u00bb2_3&#8243; _builder_version=\u00bb4.4.8&#8243;][et_pb_text _builder_version=\u00bb4.9.7&#8243; text_font=\u00bb|600|||||||\u00bb text_text_color=\u00bb#F2AF46&#8243; text_font_size=\u00bb18px\u00bb header_text_align=\u00bbcenter\u00bb header_font_size=\u00bb35px\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb]CULTURA[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.7&#8243; header_font=\u00bb|700||on|||||\u00bb header_text_align=\u00bbleft\u00bb header_text_color=\u00bb#057E7E\u00bb custom_margin=\u00bb3%|0%|3%|0%|true|true\u00bb custom_padding=\u00bb|0%||0%|false|true\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<h1>Hay una l\u00e1grima sobre el tel\u00e9fono<\/h1>\n<p>[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.7&#8243; text_font=\u00bb|600|||||||\u00bb text_text_color=\u00bb#057E7E\u00bb text_font_size=\u00bb18px\u00bb header_text_align=\u00bbcenter\u00bb header_font_size=\u00bb35px\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]Viajes en el tiempo, realidades alternativas y misterios sin resolver. Terror y ciencia ficci\u00f3n a la orden del d\u00eda; usamos de excusa el lanzamiento de la serie Llamadas (Calls, 2021) en Apple TV+ y el pr\u00f3ximo estreno de No Respires 2 (Don&#8217;t Breathe 2, 2021) para explorar la carrera del director Fede \u00c1lvarez hasta la fecha.[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.7&#8243; text_font=\u00bb||||||||\u00bb text_text_color=\u00bb#057E7E\u00bb text_font_size=\u00bb18px\u00bb header_text_align=\u00bbcenter\u00bb header_text_color=\u00bb#057E7E\u00bb header_font_size=\u00bb35px\u00bb text_orientation=\u00bbjustified\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]Por <b>Cristian Calavia<\/b><br \/>\n15\/07\/2021[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2021\/07\/PlantillasNotas_Cultura_Portada-1.jpg\u00bb title_text=\u00bbPlantillasNotas_Cultura_Portada\u00bb disabled_on=\u00bboff|off|off\u00bb _builder_version=\u00bb4.9.7&#8243; background_enable_image=\u00bboff\u00bb custom_margin=\u00bb5%|0%|5%|0%|true|true\u00bb custom_margin_tablet=\u00bb\u00bb custom_margin_phone=\u00bb6%|0%|6%|0%|true|true\u00bb custom_margin_last_edited=\u00bbon|phone\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner column_structure=\u00bb1_2,1_2&#8243; use_custom_gutter=\u00bbon\u00bb gutter_width=\u00bb1&#8243; make_equal=\u00bbon\u00bb disabled_on=\u00bbon|off|off\u00bb _builder_version=\u00bb4.4.8&#8243; background_color=\u00bb#ffffff\u00bb custom_margin=\u00bb||||false|false\u00bb custom_padding=\u00bb0px||0px|0%|false|false\u00bb locked=\u00bboff\u00bb][et_pb_column_inner type=\u00bb1_2&#8243; saved_specialty_column_type=\u00bb2_3&#8243; _builder_version=\u00bb4.4.8&#8243; background_color=\u00bb#ffffff\u00bb custom_css_main_element=\u00bbwidth: 60% !important;\u00bb][\/et_pb_column_inner][et_pb_column_inner type=\u00bb1_2&#8243; saved_specialty_column_type=\u00bb2_3&#8243; _builder_version=\u00bb4.4.8&#8243; custom_css_main_element=\u00bb||width: 40% !important;||margin: auto;||display: flex;||flex-direction: column;||justify-content: center;\u00bb][et_pb_code _builder_version=\u00bb4.4.8&#8243; text_orientation=\u00bbcenter\u00bb module_alignment=\u00bbcenter\u00bb custom_margin=\u00bb2%||2%||true|false\u00bb custom_padding=\u00bb|20%||20%|false|true\u00bb]<div class=\"et_social_networks et_social_3col et_social_simple et_social_circle et_social_top et_social_nospace et_social_shortcode_0 et_social_mobile_on et_social_outer_dark\">\n\t\t\t\t\t<style type=\"text\/css\">.et_monarch .et_social_shortcode_0 li,.et_monarch .et_social_shortcode_0.et_social_circle ul li i.et_social_icon { background: #00c5d7; } .et_monarch .et_social_shortcode_0.et_social_rounded .et_social_icons_container li:hover, .et_monarch .et_social_shortcode_0.et_social_rectangle .et_social_icons_container li:hover, .et_monarch .et_social_shortcode_0.et_social_circle .et_social_icons_container li:hover i.et_social_icon { background: #ffffff !important; } .et_monarch .et_social_shortcode_0 .et_social_icon, .et_monarch .et_social_shortcode_0 .et_social_networks .et_social_network_label, .et_monarch .et_social_shortcode_0 .et_social_networkname, .et_monarch .et_social_shortcode_0 .et_social_count { color: #ffffff !important; } .et_monarch .et_social_shortcode_0 .et_social_icons_container li:hover .et_social_icon, .et_monarch .et_social_shortcode_0 .et_social_networks .et_social_icons_container li:hover .et_social_network_label, .et_monarch .et_social_shortcode_0 .et_social_icons_container li:hover .et_social_networkname, .et_monarch .et_social_rounded.et_social_shortcode_0 .et_social_icons_container li:hover .et_social_count, .et_monarch .et_social_rectangle.et_social_shortcode_0 .et_social_icons_container li:hover .et_social_count { color: #00c5d7 !important; }<\/style>\n\t\t\t\t\t\n\t\t\t\t\t<ul class=\"et_social_icons_container\"><li class=\"et_social_facebook\">\n\t\t\t\t\t\t<a href=\"#\" class=\"et_social_follow\" data-social_name=\"facebook\" data-social_type=\"follow\" data-post_id=\"0\" target=\"_blank\">\n\t\t\t\t\t\t\t<i class=\"et_social_icon et_social_icon_facebook\"><\/i>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<span class=\"et_social_overlay\"><\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/li><li class=\"et_social_twitter\">\n\t\t\t\t\t\t<a href=\"https:\/\/twitter.com\/Revistaurbe_?s=12\" class=\"et_social_follow\" data-social_name=\"twitter\" data-social_type=\"follow\" data-post_id=\"0\" target=\"_blank\">\n\t\t\t\t\t\t\t<i class=\"et_social_icon et_social_icon_twitter\"><\/i>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<span class=\"et_social_overlay\"><\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/li><li class=\"et_social_instagram\">\n\t\t\t\t\t\t<a href=\"https:\/\/www.instagram.com\/revistaurbe\/?igshid=osawef034cfi\" class=\"et_social_follow\" data-social_name=\"instagram\" data-social_type=\"follow\" data-post_id=\"0\" target=\"_blank\">\n\t\t\t\t\t\t\t<i class=\"et_social_icon et_social_icon_instagram\"><\/i>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<span class=\"et_social_overlay\"><\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/li><\/ul>\n\t\t\t\t<\/div>[\/et_pb_code][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=\u00bb4.4.8&#8243; background_color=\u00bb#ffffff\u00bb custom_padding=\u00bb0px||3px|0px||\u00bb][et_pb_column_inner saved_specialty_column_type=\u00bb2_3&#8243; _builder_version=\u00bb4.4.8&#8243;][et_pb_text _builder_version=\u00bb4.9.7&#8243; text_text_color=\u00bb#000000&#8243; text_font_size=\u00bb17px\u00bb text_line_height=\u00bb1.5em\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb hover_enabled=\u00bb0&#8243; text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb sticky_enabled=\u00bb0&#8243;]<\/p>\n<p>Hace m\u00e1s de una d\u00e9cada que el corto \u00a1Ataque de p\u00e1nico! (2009), del por aquel entonces ignoto cineasta uruguayo Federico \u00c1lvarez, se volvi\u00f3 viral en YouTube. Con un presupuesto m\u00ednimo de 300 d\u00f3lares y mucha creatividad puesta al servicio de la realizaci\u00f3n, la peque\u00f1a historia sobre robots gigantes y objetos voladores no identificados que invaden la ciudad de Montevideo \u2013y que al d\u00eda de la fecha ya cuenta con casi ocho millones de reproducciones- llam\u00f3 la atenci\u00f3n de varios nombres importantes de la industria cinematogr\u00e1fica, \u00e1vidos de carne fresca y nuevos talentos.<\/p>\n<p>Entre quienes se mostraron interesados en la capacidad del joven director charr\u00faa para acercar en pantalla la distancia entre lo ideal y lo posible fue Sam Raimi, el tipo responsable de Darkman: El Hombre sin Rostro (Darkman, 1990) y la trilog\u00eda de El Hombre Ara\u00f1a (Spider-Man, 2002-2007) protagonizada por Tobey Maguire, entre otros grandes t\u00edtulos. Luego de ver el cortometraje, Raimi le ofreci\u00f3 a \u00c1lvarez que se pusiera detr\u00e1s de c\u00e1mara en la nueva versi\u00f3n de Diab\u00f3lico (Evil Dead, 1981). Nada m\u00e1s y nada menos que la pel\u00edcula que hab\u00eda disparado la carrera del estadounidense en los ochenta y que con el paso del tiempo se convirti\u00f3 en un \u00edcono del cine de terror gore.<\/p>\n<p>Despu\u00e9s de la buena recepci\u00f3n de cr\u00edtica y convocatoria que tuvo Posesi\u00f3n Infernal (Evil Dead, 2013), Fede \u00c1lvarez logr\u00f3 que le dieran luz verde para adentrarse en un proyecto en el que pudiera imprimir un estilo absolutamente propio. As\u00ed fue que escribi\u00f3 y dirigi\u00f3 No Respires (Don\u2019t Breathe, 2016), un \u00e9xito de taquilla absoluto que dej\u00f3 bien en claro que su trabajo en Hollywood reci\u00e9n estaba comenzando. M\u00e1s all\u00e1 del traspi\u00e9 comercial y art\u00edstico que signific\u00f3 despu\u00e9s La Chica en la Telara\u00f1a (The Girl in the Spider\u2019s Web, 2018), su proyecto m\u00e1s impersonal hasta el momento, el director uruguayo est\u00e1 de vuelta en 2021 con una innovadora serie de suspenso y ciencia ficci\u00f3n para Apple TV+.<\/p>\n<p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2021\/07\/LLAMADAS-4.jpg\u00bb title_text=\u00bbLLAMADAS 4&#8243; disabled_on=\u00bboff|off|off\u00bb _builder_version=\u00bb4.9.7&#8243; background_enable_image=\u00bboff\u00bb custom_margin=\u00bb5%|0%|5%|0%|true|true\u00bb custom_margin_tablet=\u00bb\u00bb custom_margin_phone=\u00bb6%|0%|6%|0%|true|true\u00bb custom_margin_last_edited=\u00bbon|phone\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.7&#8243; text_text_color=\u00bb#000000&#8243; text_font_size=\u00bb17px\u00bb text_line_height=\u00bb1.5em\u00bb min_height=\u00bb526px\u00bb custom_margin=\u00bb0.7%|0%|0.7%|0%|true|true\u00bb custom_padding=\u00bb||0px|||\u00bb hover_enabled=\u00bb0&#8243; text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb sticky_enabled=\u00bb0&#8243;]<\/p>\n<p>Basada en una idea original del realizador de televisi\u00f3n franc\u00e9s Timoth\u00e9e Hochet, Llamadas (Calls, 2021) es una coproducci\u00f3n entre la plataforma del logo de la manzana y Canal+ de Francia. Son nueve episodios de entre 12 y 20 minutos que mantienen un nivel de tensi\u00f3n constante de un lado y del otro de la pantalla. La propuesta re\u00fane elementos del antiguo radioteatro ya que el reparto nunca aparece en escena: las actuaciones son realizadas a trav\u00e9s de voces en llamadas telef\u00f3nicas que se ir\u00e1n complejizando m\u00e1s all\u00e1 de la l\u00f3gica espacio-temporal cap\u00edtulo a cap\u00edtulo. De hecho, la grabaci\u00f3n de la serie comenz\u00f3 casi al mismo tiempo que la cuarentena por la pandemia del coronavirus en los Estados Unidos y esto hizo que tanto los actores y actrices como el director tuvieran que trabajar desde sus propias casas a trav\u00e9s de videollamadas. En consecuencia, la circunstancia les otorg\u00f3 un mayor realismo a las interpretaciones.<\/p>\n<p>En vez de int\u00e9rpretes poniendo el cuerpo frente a c\u00e1mara lo que ir\u00e1n apareciendo espor\u00e1dicamente en pantalla son figuras geom\u00e9tricas animadas que tomar\u00e1n distintas formas y vibrar\u00e1n al pulso (y con la forma) de las ondas sonoras. Una vez que el televidente entra en el c\u00f3digo que propone la serie, la experiencia se torna casi inmersiva. En determinados momentos tambi\u00e9n se manifestar\u00e1n ep\u00edgrafes que no s\u00f3lo cumplir\u00e1n la funci\u00f3n de enriquecer el relato, sino que entablar\u00e1n otro tipo de complicidad entre la trama y el oyente-observador completamente ajena a los personajes. Un ejercicio de impronta hitchcockiana para quien tome la buena decisi\u00f3n de dejar el celular del otro lado de la habitaci\u00f3n (o living comedor) y adentrarse en esta historia a un volumen envolvente.<\/p>\n<p> [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2021\/07\/LLAMADAS-3-scaled.jpg\u00bb title_text=\u00bbLLAMADAS 3&#8243; align=\u00bbcenter\u00bb force_fullwidth=\u00bbon\u00bb disabled_on=\u00bboff|off|off\u00bb _builder_version=\u00bb4.9.7&#8243; background_enable_image=\u00bboff\u00bb custom_margin=\u00bb5%|0%|5%|0%|true|true\u00bb custom_margin_tablet=\u00bb4.5%|0%|4.5%|0%|true|true\u00bb custom_margin_phone=\u00bb6%|0%|6%|0%|true|true\u00bb custom_margin_last_edited=\u00bbon|phone\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.7&#8243; text_text_color=\u00bb#000000&#8243; text_font_size=\u00bb17px\u00bb text_line_height=\u00bb1.5em\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb hover_enabled=\u00bb0&#8243; text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb sticky_enabled=\u00bb0&#8243;]<\/p>\n<p>M\u00e1s all\u00e1 de la riqueza de Llamadas (Calls, 2021) en torno a los recursos puestos en funci\u00f3n del discurso televisivo, su argumento no se queda atr\u00e1s: los que al principio parecen ser relatos de misterio auto conclusivos y aislados el uno del otro, comenzar\u00e1n a revelarse como una historia en conjunto con el correr de los cap\u00edtulos. Traici\u00f3n, muerte, amor, decisiones imposibles, prueba y error, crimen y castigo, viajes en el tiempo y la concepci\u00f3n de un multiverso que aloja distintas versiones de la realidad comenzar\u00e1n a tomar partido a trav\u00e9s de la l\u00ednea telef\u00f3nica. La buena noticia es que no hay que tener un doctorado en f\u00edsica cu\u00e1ntica para entender nada de lo que plantea la serie, con dejarse llevar por la propuesta y confiar en un montaje bien ejecutado es suficiente.<\/p>\n<p>Nick Jonas, Stephen Lang, Pedro Pascal, Rosario Dawson, Lily Collins, Aaron Taylor-Johnson, Karen Gillan, Danny Huston, Nicholas Braun, Clancy Brown y Aubrey Plaza con solo algunos de los integrantes del variopinto elenco que particip\u00f3 del proyecto en modo remoto. Hasta el propio Fede \u00c1lvarez, creador de la serie y todo este universo, aparece en un peque\u00f1o papel con el \u2013ir\u00f3nico- nombre de Jes\u00fas. Una propuesta original, innovadora y apocal\u00edptica para los tiempos pand\u00e9micos que corren. De esas que, a pesar de enredarse por momentos en sus propias y ambiciosas intenciones, son dignas de ver y celebrar siempre que aparecen. <\/p>\n<p>El futuro inmediato de \u00c1lvarez lo tiene como guionista y productor de No Respires 2 (Don\u2019t Breathe 2, 2021), que contar\u00e1 con la direcci\u00f3n del debutante Rodo Sayagues, hist\u00f3rico colaborador del cineasta charr\u00faa. Adem\u00e1s, tanto \u00c1lvarez como Sayagues estuvieron a cargo de la producci\u00f3n y la idea del reboot de La Masacre de Texas (The Texas Chain Saw Massacre, 1974), el cl\u00e1sico fundacional de terror slasher de Tobe Hooper.  Tal como sucedi\u00f3 con la \u00faltima versi\u00f3n de Halloween (Halloween, 2018), se trata de una secuela directa de la pel\u00edcula original, aunque a\u00fan no tiene fecha de estreno confirmada. 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