{"id":8162,"date":"2023-07-07T21:39:33","date_gmt":"2023-07-07T21:39:33","guid":{"rendered":"https:\/\/urbe.com.ar\/revista\/?p=8162"},"modified":"2023-07-08T10:05:09","modified_gmt":"2023-07-08T10:05:09","slug":"misantropo-una-critica-social-en-el-cine","status":"publish","type":"post","link":"https:\/\/urbe.com.ar\/revista\/misantropo-una-critica-social-en-el-cine\/","title":{"rendered":"Mis\u00e1ntropo, \u00bfuna cr\u00edtica social en el cine?"},"content":{"rendered":"<p>[et_pb_section fb_built=\u00bb1&#8243; disabled_on=\u00bbon|on|on\u00bb _builder_version=\u00bb4.20.0&#8243; disabled=\u00bbon\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row _builder_version=\u00bb4.18.0&#8243; global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.18.0&#8243; global_colors_info=\u00bb{}\u00bb][et_pb_text disabled_on=\u00bbon|on|on\u00bb _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb custom_padding=\u00bb||28px|||\u00bb hover_enabled=\u00bb0&#8243; disabled=\u00bbon\u00bb global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0&#8243;]Por <b>Juana Biscardi<\/b>\u00a0| Esta nota indaga el giro est\u00e9tico de Szifron hacia el policial, emblem\u00e1tico g\u00e9nero norteamericano con los c\u00f3digos del cine cl\u00e1sico, en comparaci\u00f3n con sus obras m\u00e1s importantes.[\/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_left_2=\u00bb1%\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 _builder_version=\u00bb4.18.0&#8243; custom_padding=\u00bb0px|0px|0px|||\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb2_3&#8243; specialty_columns=\u00bb2&#8243; _builder_version=\u00bb4.16&#8243; custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_row_inner _builder_version=\u00bb4.21.0&#8243; background_color=\u00bb#ffffff\u00bb background_enable_image=\u00bboff\u00bb custom_margin=\u00bb40px||20px||false|false\u00bb custom_padding=\u00bb12px|0px|12px|0px|true|true\u00bb border_color_left=\u00bb#F2AF46&#8243; global_colors_info=\u00bb{}\u00bb][et_pb_column_inner saved_specialty_column_type=\u00bb2_3&#8243; _builder_version=\u00bb4.18.0&#8243; global_colors_info=\u00bb{}\u00bb][et_pb_text _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web|600|||||||\u00bb text_text_color=\u00bb#000000&#8243; text_font_size=\u00bb18px\u00bb header_text_align=\u00bbcenter\u00bb header_font_size=\u00bb35px\u00bb background_color=\u00bbRGBA(255,255,255,0)\u00bb background_layout=\u00bbdark\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb custom_padding=\u00bb|||13px|false|false\u00bb border_color_all=\u00bb#FFFFFF\u00bb border_width_left=\u00bb6px\u00bb border_color_left=\u00bb#F2AF46&#8243; global_colors_info=\u00bb{}\u00bb]<\/p>\n<p><strong>Pantallas<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web|300|||||||\u00bb text_text_color=\u00bb#000000&#8243; text_line_height=\u00bb1.4em\u00bb header_font=\u00bb|700||on|||||\u00bb header_text_align=\u00bbleft\u00bb header_text_color=\u00bb#272727&#8243; header_font_size=\u00bb57px\u00bb background_color=\u00bbRGBA(255,255,255,0)\u00bb background_enable_image=\u00bboff\u00bb background_size=\u00bbstretch\u00bb width=\u00bb100%\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb71px\u00bb custom_margin=\u00bb3%|0%|3%|0%|true|true\u00bb custom_padding=\u00bb|0%|0px|0%|false|true\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n<h1>Mis\u00e1ntropo, \u00bfuna cr\u00edtica social desde el cine?<\/h1>\n<p>[\/et_pb_text][et_pb_text admin_label=\u00bbParrafo 1&#8243; _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb 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 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 locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami\u00bb global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0&#8243;]<\/p>\n<blockquote><\/blockquote>\n<p><span style=\"font-size: large;\">Esta nota indaga el giro est\u00e9tico de Szifron hacia el policial, emblem\u00e1tico g\u00e9nero norteamericano con los c\u00f3digos del cine cl\u00e1sico, en comparaci\u00f3n con sus obras m\u00e1s importantes.<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><\/span>[\/et_pb_text][et_pb_text _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb text_text_color=\u00bb#000000&#8243; 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 custom_padding=\u00bb|||13px|false|false\u00bb border_width_left=\u00bb6px\u00bb border_color_left=\u00bb#F2AF46&#8243; global_colors_info=\u00bb{}\u00bb]<\/p>\n<p>Por <b>Juana Biscardi<\/b><br \/><span style=\"font-size: small;\">08 de julio de 2023<\/span><\/p>\n<p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2023\/07\/banner-2.jpg\u00bb title_text=\u00bbbanner\u00bb disabled_on=\u00bboff|off|off\u00bb _builder_version=\u00bb4.21.0&#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 global_colors_info=\u00bb{}\u00bb][\/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=\u00bb4.16&#8243; background_color=\u00bb#ffffff\u00bb custom_margin=\u00bb||||false|false\u00bb custom_padding=\u00bb0px||0px|0%|false|false\u00bb locked=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column_inner type=\u00bb1_2&#8243; 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background_color=\u00bb#ffffff\u00bb custom_padding=\u00bb0px||3px|0px||\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column_inner saved_specialty_column_type=\u00bb2_3&#8243; _builder_version=\u00bb4.16&#8243; global_colors_info=\u00bb{}\u00bb][et_pb_text admin_label=\u00bbParrafo 1&#8243; _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb 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 custom_padding=\u00bb||0px|||\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami,Acme,Titillium Web\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-family: 'Titillium Web'; font-size: large; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black;\">El 4 de mayo, luego de casi una d\u00e9cada de estar fuera de las carteleras, volvi\u00f3 Dami\u00e1n Szifron a los cines argentinos con Mis\u00e1ntropo (2023).<\/span><span lang=\"ES-AR\" style=\"color: black;\"><o:p><\/o:p><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-family: 'Titillium Web'; font-size: large; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-family: 'Titillium Web'; font-size: large; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black;\">La pel\u00edcula es una producci\u00f3n estadounidense que tiene como protagonistas a <span style=\"background: white;\">Shailene Woodley y Ben Mendelsohn, un guion escrito por Dami\u00e1n Szifron y Jonathan Wakeham y la fotograf\u00eda a cargo del argentino Javier Julia.\u00a0\u00a0<\/span><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-family: 'Titillium Web'; font-size: large; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black;\"><span style=\"background: white;\"><\/span><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-family: 'Titillium Web'; font-size: large; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Mis\u00e1ntropo<\/span><span lang=\"ES-AR\" style=\"color: black; background: white;\"> es el inicio del recorrido del director por la industria hollywoodense, camino que comienza diez a\u00f1os atr\u00e1s con la propuesta de filmar El hombre nuclear. Proyecto que nunca se concreta, luego de que el guion pase a estar en manos de la Warner Bros por las denuncias de acoso y agresi\u00f3n sexual que se le adjudicaron al entonces productor y due\u00f1o del proyecto Harvey Weinstein. En esta ocasi\u00f3n el director sufrir\u00e1 durante el proceso de creaci\u00f3n las cl\u00e1sicas consecuencias de lidiar con un esquema industrial donde su guion no ser\u00e1 respetado, sino modificado en constantes instancias con el objetivo de realizar una pel\u00edcula que obtenga el \u00e9xito masivo. Sin embargo, esta propuesta fallida no frenar\u00e1 los v\u00ednculos de Szifron con el cine norteamericano, sino que comenzar\u00e1 una relaci\u00f3n con la industria que obtendr\u00e1 como resultado su \u00faltima pel\u00edcula.\u00a0<\/span><\/span><span lang=\"ES-AR\" style=\"font-size: 11.0pt; color: black;\"><o:p><\/o:p><\/span><\/p>\n<p><span style=\"font-weight: 400;\"><\/span><\/p>\n<p>[\/et_pb_text][et_pb_code _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb]<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/BS6pQt35eS8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>[\/et_pb_code][et_pb_text _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb text_text_color=\u00bb#000000&#8243; text_font_size=\u00bb17px\u00bb text_line_height=\u00bb1.5em\u00bb min_height=\u00bb17.5px\u00bb custom_margin=\u00bb2.5%|0%|2.5%|0%|true|true\u00bb custom_padding=\u00bb||0px|9px|false|false\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#272727&#8243; global_colors_info=\u00bb{}\u00bb]<\/p>\n<p><em><span style=\"font-weight: 400; font-size: small;\">Mis\u00e1ntropo, el tr\u00e1iler oficial.<br \/><\/span><\/em><\/p>\n<p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2023\/06\/300&#215;300.jpg\u00bb alt=\u00bbYPF\u00bb title_text=\u00bb300&#215;300&#8243; url=\u00bbhttps:\/\/www.ypf.com\/Paginas\/home.aspx\u00bb url_new_window=\u00bbon\u00bb disabled_on=\u00bboff|on|on\u00bb _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb min_height=\u00bb248.1px\u00bb custom_margin=\u00bb14.3%||14.3%||true|false\u00bb custom_padding=\u00bb||50px|||\u00bb global_module=\u00bb5777&#8243; global_colors_info=\u00bb{}\u00bb][\/et_pb_image][et_pb_text admin_label=\u00bbParrafo 1&#8243; _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb 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 custom_padding=\u00bb||0px|||\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami,Titillium Web\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n<blockquote><\/blockquote>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><i><span lang=\"ES-AR\" style=\"color: black; background: white;\">Mis\u00e1ntropo <\/span><\/i><span lang=\"ES-AR\" style=\"color: black; background: white;\">establece un giro est\u00e9tico respecto de la trayectoria cinematogr\u00e1fica del director al acercarse mucho m\u00e1s a los c\u00f3digos cinematogr\u00e1ficos del cine cl\u00e1sico de Hollywood. La utilizaci\u00f3n del policial, uno de los g\u00e9neros m\u00e1s emblem\u00e1ticos del cine norteamericano, la utilizaci\u00f3n de un montaje cl\u00e1sico con grandes planos generales de la ciudad con su movimiento y la inclusi\u00f3n de actores estadounidenses con sus respectivos registros actorales, son ejemplos de esta afirmaci\u00f3n.\u00a0<\/span><span lang=\"ES-AR\" style=\"color: black;\"><o:p><\/o:p><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Dentro del mundo de la cr\u00edtica la pel\u00edcula fue aclamada por el uso acabado del lenguaje cinematogr\u00e1fico en su relato y criticada por la utilizaci\u00f3n de clich\u00e9s t\u00edpicos del cine estadounidense en su historia (recurrentes en las pel\u00edculas que circulan en las grandes plataformas audiovisuales). Pero m\u00e1s all\u00e1 de las encontradas opiniones sobre el film, en muchos casos se acuerda con que el director busc\u00f3 establecer una cr\u00edtica a la sociedad norteamericana y al avance del capitalismo salvaje.\u00a0<\/span><span lang=\"ES-AR\" style=\"color: black;\"><o:p><\/o:p><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span lang=\"ES-AR\" style=\"font-size: large; font-family: 'Titillium Web'; color: black; background: white; font-weight: normal;\">No obstante se podr\u00eda pensar: \u00bfQu\u00e9 implica una cr\u00edtica dentro de una obra cinematogr\u00e1fica?, \u00bfD\u00f3nde radica la misma?, \u00bfC\u00f3mo pueden medirse sus alcances?.<\/span><span lang=\"ES-AR\" style=\"font-size: 11.0pt; color: black;\"><o:p><\/o:p><\/span><\/p>\n<p><span style=\"font-weight: 400;\"><\/span><\/p>\n<p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2023\/07\/daminszifron_y_javier_julia_en_el_set_de___misantropo__9504-scaled.webp\u00bb title_text=\u00bbdaminszifron_y_javier_juli\u00e1_en_el_set_de___mis\u00e1ntropo__9504&#8243; _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb text_text_color=\u00bb#000000&#8243; text_font_size=\u00bb17px\u00bb text_line_height=\u00bb1.5em\u00bb min_height=\u00bb17.5px\u00bb custom_margin=\u00bb2.5%|0%|2.5%|0%|true|true\u00bb custom_padding=\u00bb||0px|9px|false|false\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#272727&#8243; global_colors_info=\u00bb{}\u00bb]<\/p>\n<p><em><span style=\"font-weight: 400; font-size: small;\">Foto: Javier Juli\u00e1 junto a Dami\u00e1n Szifron.<br \/><\/span><\/em><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=\u00bbParrafo 1&#8243; _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb 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 custom_padding=\u00bb||0px|||\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami,Titillium Web\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n<blockquote><\/blockquote>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">La cr\u00edtica social del largometraje se encuentra en el nivel de la historia que busca mostrar aquellos bajos fondos de las grandes ciudades, aspecto que resulta recurrente dentro del g\u00e9nero film noir.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">La primera escena nos muestra una ciudad moderna, repleta de luces y gente festejando el comienzo de un a\u00f1o nuevo, donde r\u00e1pidamente los estallidos de los fuegos artificiales se convertir\u00e1n en tiros que causar\u00e1n 29 muertes.<\/span><span lang=\"ES-AR\" style=\"color: black;\"><o:p><\/o:p><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Este contraste del esplendor de una ciudad en contraposici\u00f3n con su m\u00e1xima oscuridad es el eje que estructura la totalidad del film.<\/span><span lang=\"ES-AR\" style=\"color: black;\"><o:p><\/o:p><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">En el desarrollo de la historia se observa como el avance de las tecnolog\u00edas y el desarrollo del capitalismo contrae, necesariamente, cantidades industriales de basura, una matanza indiscriminada de animales, corrupci\u00f3n al interior del poder pol\u00edtico y los medios de comunicaci\u00f3n, excesos de violencia y s\u00edntomas caracter\u00edsticos de esta \u00e9poca como son la depresi\u00f3n que caracteriza a la detective. Este sistema opresor, del cual no hay escapatoria, es lo que conduce al asesino a querer erradicar a la especie humana, para volver a un estado de tranquilidad como la vaca que pasta antes de ser llevada al matadero.\u00a0<\/span><span lang=\"ES-AR\" style=\"color: black;\"><o:p><\/o:p><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span lang=\"ES-AR\" style=\"font-size: large; font-family: 'Titillium Web'; color: black; background: white; font-weight: normal;\">En este sentido, <i>Mis\u00e1ntropo <\/i>desde su t\u00edtulo reflexiona sobre el odio a la humanidad y en lo que esta se ha convertido y establece una l\u00f3gica donde el victimario es la primera v\u00edctima de un sistema deshumanizador.\u00a0<\/span><span lang=\"ES-AR\" style=\"font-size: 11.0pt; color: black;\"><o:p><\/o:p><\/span><\/p>\n<p><span style=\"font-weight: 400;\"><\/span><\/p>\n<p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2023\/07\/1177577.jpeg\u00bb title_text=\u00bb1177577&#8243; _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb text_text_color=\u00bb#000000&#8243; text_font_size=\u00bb17px\u00bb text_line_height=\u00bb1.5em\u00bb min_height=\u00bb17.5px\u00bb custom_margin=\u00bb2.5%|0%|2.5%|0%|true|true\u00bb custom_padding=\u00bb||0px|9px|false|false\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#272727&#8243; global_colors_info=\u00bb{}\u00bb]<\/p>\n<p><em><span style=\"font-weight: 400; font-size: small;\">Foto: Shailene Woodley, actr\u00edz protagonista del film.<br \/><\/span><\/em><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=\u00bbParrafo 1&#8243; _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb 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 custom_padding=\u00bb||0px|||\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami,Titillium Web\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n<blockquote><\/blockquote>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Ahora bien, a pesar de que se podr\u00eda considerar a la cr\u00edtica como leg\u00edtima, cabe preguntarse por las formas en que esta se lleva a cabo. Desde los inicios de los estudios de la est\u00e9tica, los fil\u00f3sofos se preguntan por la famosa dicotom\u00eda entre forma y contenido.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">A lo largo de la historia del arte y del cine en particular, los distintos movimientos se han posicionado en uno de estos polos, ya sea para transparentar la forma y resaltar el contenido (el cine cl\u00e1sico) o para trabajar sobre el relato que necesariamente modificar\u00e1 la forma de percibir la historia.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">En el caso de esta pel\u00edcula el relato se construye bajo las reglas del policial y por sobre todas las cosas, bajo el paradigma de lo que Deleuze denomina <b>imagen-acci\u00f3n<\/b> (<i>Imagen movimiento<\/i>, 1983). La historia no deja cabos sueltos, se construye de manera cl\u00e1sica con un principio, desarrollo y desenlace, donde la acci\u00f3n avanza de manera lineal hacia el descubrimiento del asesino y el cierre de la historia con la respectiva premiaci\u00f3n de los h\u00e9roes del caso. Esta forma de construir el relato es la que produce un entretenimiento constante del espectador, quien no se pierde en el desarrollo de la intriga y sigue de manera fiel cada pista que descubren los detectives. No hay vac\u00edos en la historia ni complejidades en el desarrollo del relato. Las im\u00e1genes se entrelazan construyendo el devenir de la investigaci\u00f3n, donde para cada acci\u00f3n se construye su respectiva reacci\u00f3n.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">El sentido se encuentra prefigurado desde el comienzo de la pel\u00edcula y necesariamente se explicita al final, cuando el director decide incluir un di\u00e1logo donde quedan m\u00e1s que exhibidos los motivos del asesino para cometer los cr\u00edmenes. \u00bfLas im\u00e1genes no fueron suficientes? \u00bfEra necesario que la palabra termine de cerrar el sentido del film?<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Desde ya son decisiones est\u00e9ticas del director pero sin embargo, conducen a reflexionar sobre su filmograf\u00eda anterior.\u00a0Si se piensa en <i>Relatos Salvajes<\/i> (2014), esta obra tambi\u00e9n despliega un universo colmado de violencia que atraviesa distintas ciudades, clases sociales y relaciones de diferente \u00edndole. Por este motivo, el film asimismo puede ser considerado dentro de una cr\u00edtica al sistema por parte del director, que como se observa, viene de larga data dentro de su filmograf\u00eda. Sin embargo, la diferencia entre ambos largometrajes radica en la forma en que es llevada a cabo esta reflexi\u00f3n sobre la actualidad.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Mientras en <i>Mis\u00e1ntropo <\/i>hay una b\u00fasqueda de especificar los motivos del asesino, buscando posicionarlo como una v\u00edctima m\u00e1s del sistema, en <i>Relatos Salvajes<\/i> hay un ejercicio de la violencia de forma desmedida, que no se justifica en la mayor\u00eda de los casos y que conduce al uso de la iron\u00eda y el absurdo como es llenar un avi\u00f3n de las personas que alguien detesta para estrellarlo contra los culpables de todos sus males: los padres.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span lang=\"ES-AR\" style=\"font-size: large; font-family: 'Titillium Web'; color: black; background: white; font-weight: normal;\">Como se observa, ambas pel\u00edculas apuntan al mismo nudo problem\u00e1tico, la opresi\u00f3n, la desigualdad, la corrupci\u00f3n y la crueldad como consecuencia directa de la realidad,\u00a0pero a su vez, cada una lo hace por caminos muy diversos.\u00a0<\/span><span lang=\"ES-AR\" style=\"font-size: 11.0pt; color: black;\"><o:p><\/o:p><\/span><\/p>\n<p><span style=\"font-weight: 400;\"><\/span><\/p>\n<p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2023\/07\/misantropo-pelicula.jpg\u00bb title_text=\u00bbmisantropo-pelicula\u00bb _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][et_pb_image _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][et_pb_text admin_label=\u00bbParrafo 1&#8243; _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb 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 custom_padding=\u00bb||0px|||\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami,Titillium Web\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n<blockquote><\/blockquote>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">La utilizaci\u00f3n de la iron\u00eda como forma reflexiva y cr\u00edtica, es una caracter\u00edstica del director que ya hab\u00eda desplegado con antelaci\u00f3n en una pel\u00edcula como es <i>Tiempo de valientes<\/i> (2005), donde el encargado de resolver los cr\u00edmenes que se suceden es un psic\u00f3logo con problemas de pareja. El recurso ir\u00f3nico necesariamente conlleva a interpretar lo que se observa no de forma literal, sino a trav\u00e9s del humor de modo indirecto. Por esta raz\u00f3n, dicho recurso requiere de un espectador con competencias espec\u00edficas, capaz de desarrollar un reconocimiento atento y llegar a conclusiones subjetivas, que el propio film no pretende resolver ni clausurar desde el relato. Los hechos se vuelven confusos e inesperados, jugando siempre con el l\u00edmite de la verosimilitud abriendo el campo al posible surgimiento de diversas decodificaciones.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Este espacio que se le permite al espectador para pensar las potencialidades de la pel\u00edcula, es el ejercicio que se coarta al explicitar constantemente el sentido ante la c\u00e1mara.\u00a0<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Esta pr\u00e1ctica sobre los modos en que se puede formular una cr\u00edtica con su respectivo impacto, fue analizada con antelaci\u00f3n por Jacques Ranci\u00e8re en el <i>Espectador emancipado<\/i> (2008), con su concepto denominado la <b>imagen pensativa<\/b>.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">Seg\u00fan el autor, la <i>pensatividad<\/i> es la capacidad del espectador para reflexionar sobre lo que observa. Esta especulaci\u00f3n s\u00f3lo puede generarse en la representaci\u00f3n cuando \u00e9sta se construye a partir de la indeterminaci\u00f3n est\u00e9tica. Cuando la representaci\u00f3n abre un espacio para que en ella florezca lo inesperado e indefinido, aquel vac\u00edo dinamiza el rol activo del espectador que intentar\u00e1 rellenar el texto lacunar.<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span lang=\"ES-AR\" style=\"font-size: large; font-family: 'Titillium Web'; color: black; background: white; font-weight: normal;\">En consecuencia, para el desarrollo de una cr\u00edtica desde el arte habr\u00eda dos caminos posibles: aquella que radica en la primac\u00eda de la acci\u00f3n y su desarrollo en la historia, donde la imagen quedar\u00e1 presa de potenciar el progreso de la l\u00ednea de acci\u00f3n y su esclarecimiento, o el camino de la suspensi\u00f3n de la conclusi\u00f3n, abriendo lugar para el trabajo del espectador y el surgimiento de la <b>imagen pensativa.<\/b> Me atrevo a afirmar que Szifron opt\u00f3 por abandonar el segundo camino en esta oportunidad.\u00a0<\/span><span lang=\"ES-AR\" style=\"font-size: 11.0pt; color: black;\"><o:p><\/o:p><\/span><\/p>\n<p><span style=\"font-weight: 400;\"><\/span><\/p>\n<p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2023\/07\/tO_cATCH_A_kILLER__2_.jpg\u00bb title_text=\u00bbtO_cATCH_A_kILLER__2_\u00bb _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][et_pb_text admin_label=\u00bbParrafo 1&#8243; _builder_version=\u00bb4.21.0&#8243; text_font=\u00bbTitillium Web||||||||\u00bb 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 custom_padding=\u00bb||0px|||\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami,Titillium Web\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n<blockquote><\/blockquote>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\">M\u00e1s all\u00e1 de las intenciones espec\u00edficas del director, que en la mayor\u00eda de los casos no resultan relevantes porque, como ya afirm\u00f3 Barthes en <i>La muerte del autor (<\/i>1968) la obra no es una biograf\u00eda del autor y sus deseos, frente al cambio de registro entre la acidez cr\u00edtica de <i>Relatos Salvajes<\/i> y la solemnidad que encarna <i>Mis\u00e1ntropo<\/i>, queda preguntarnos los motivos. \u00bfSer\u00e1 porque fueron filmadas en contextos de producci\u00f3n distintos? \u00bfBuscar\u00e1n el \u00e9xito en p\u00fablicos diferentes? \u00bf<i>Mis\u00e1ntropo<\/i> inaugurar\u00e1 una nueva marca autoral en la filmograf\u00eda del director?<\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span style=\"font-size: large; font-family: 'Titillium Web'; font-weight: normal;\"><span lang=\"ES-AR\" style=\"color: black; background: white;\"><\/span><\/span><\/p>\n<p style=\"margin: 0cm;\"><span lang=\"ES-AR\" style=\"font-size: large; font-family: 'Titillium Web'; color: black; background: white; font-weight: normal;\">Interrogantes, que quiz\u00e1s por ahora, no encontrar\u00e1n respuestas.\u00a0<\/span><span lang=\"ES-AR\" style=\"font-size: 11.0pt; color: black;\"><o:p><\/o:p><\/span><\/p>\n<p><span style=\"font-weight: 400;\"><\/span><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=\u00bb4.21.0&#8243; _module_preset=\u00bbdefault\u00bb text_font=\u00bbTitillium Web||||||||\u00bb text_text_color=\u00bb#272727&#8243; background_color=\u00bb#f2f2f2&#8243; custom_margin=\u00bb112px|||||\u00bb custom_padding=\u00bb14px|14px|14px|14px|true|true\u00bb global_colors_info=\u00bb{}\u00bb]<span style=\"font-size: large;\"><strong>Juana Biscardi<\/strong><\/span><\/p>\n<p>\u00bfTe gust\u00f3 la nota? 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