UNA VÍCTIMA EN POTENCIA

001-a-serbian-film-internacional

Déjame mostrarte lo que es una víctima en potencia-. El hombre de barba y muy elegante, despliega una pantalla y enciende un proyector. Comienza un video. Nuestro protagonista parece escéptico. En un cuarto oscuro y gris, una mujer embarazada está a punto de dar a luz sobre una mesa. Un hombre desnudo y con una máscara en la cabeza recibe al niño. Le da media vuelta a la criatura, para ver su espalda, y lo pone a la altura de su cintura.

La anterior es una de las escenas más impactantes –por demás, abundantes-, de la cinta de 2010 y debut directoral de Srdan Spasojević, Srpski Film (o A Serbian Film, como se le conoce en la mayoría de los países); una de las más polémicas cintas de los últimos años.

Una película tan polémica requiere un argumento de ese calibre: Milo, estrella porno retirado, casado y con un hijo pequeño, tiene problemas económicos. Una ex-compañera de trabajo le contacta con un nuevo director que está ganando fama en la industria. Éste le ofrece protagonizar su siguiente película. Desde el primer día de rodaje no parece ser una porno normal. Milo se dará cuenta de que se metió con quien no debía, y debe terminar el trabajo.

Pornografía, incesto, pedofilia, necrofilia, uso de drogas, violencia y crueldad extrema, entre otros tantos, son la descripción más común que recibe la cinta que deja pocas cosas a la imaginación. El alto impacto de varias secuencias, junto con un impecable trabajo de fotografía y música (técnicamente, los dos mejores aspectos del film), hacen que A Serbian Film sea un estudio de la sexualidad y la violencia.

Precisamente por ello, por ser un estudio de la sexualidad y la violencia, la película se presta a varias interpretaciones. Usando como pretexto, a manera de luces apuntando al cielo para llamar la atención, en realidad esas escenas cargadas de crueldad se ven opacadas por el sentido que incluso el propio guionista, el reconocido crítico de cine Aleksandar Alivojevic, le ha querido dar en diversas entrevistas y presentaciones.

Srpski Film es una extrapolación al cine de la situación política de Serbia, a raíz de la era comunista, la Guerra de Kosovo y la inestabilidad política que derivó en la separación del país de Montenegro; la cinta es un reflejo en la psique de la clase media que sufrió sobre todas las idas y venidas de la política y economía de Europa sur-oriental de las pasadas décadas.

Pero otra interpretación, un poco menos rebuscada, sería ver en A Serbian Film una alegoría de la pornografía y el cine. Desde referencias tan obvias como el hecho de que están filmando una película porno ultra violenta, hasta momentos bastante memorables como el hecho de que nuestro protagonista usa una cámara de video para recordar lo que sucedió, o que el camarógrafo tuerto del set es penetrado en su único ojo -¿cámara?- con un miembro masculino erecto.

A Serbian Film no escatima en lo que muestra así como no debemos subestimar lo mucho que nos intenta decir, aunque sea una forma cruda y cruel, y que constantemente nos recuerde quién es la víctima en potencia: nosotros.

SRPSKI FILM (A Serbian Film)

Serbia, 2010

Director: Srdjan Spasojević

Productores: Nicola Pantelic, Dragoljub Vojnov, Srdan Spasojević

Guionistas: Aleksandar Alivojevic, Srdan Spasojević

Fotografía: Nemanja Jovanov

Música: Skaj Vikler

Intérpretes: Srdjan Todorovic, Sergej Trifunovic, Jelena Grafilovic, Slobodan Bestic, Katarina Zutic

sergio.aguilar@revistamiopia.mx
@sergio_jaa

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2 thoughts on “UNA VÍCTIMA EN POTENCIA

  1. Wow Ya, I share the same feeling that this is an uniftsiujed charge.I have yet to see the film, but I think my opinion of the film itself (conceptually) will differ from yours . the explanation of which would be yet another one of my novel length’ posts. But, in a nutshell, I find a hypocracy in the criticism of shocking/disturbing’ films (as long as the events on film are fake, and not something like real animal cruelty, for example). How ANYTHING that is fictional can even truly create any kind of negative reaction seems illogical to me. Sure, in the moment (in the world of the film that you are immersed) you react, as you would to any aspect of the films story but to then react’ to it after the fact, actually defies logic to me. As shocking, cruel, wrong, etc as anything on film may be (again FICTIONAL actions), what you are watching (and reacting to) in reality is a set with a bunch of crew members and actors, pretending Two people talking about donuts vs two people screaming at each other, removing each others intestines are both (in reality) equally offensive’ they are both (in reality) just two actors and a crew, and regardless of how intense the scene may be, they stop and (probably) laugh or go and get a coffee when the director shouts cut’. To me, in reality, there is a serious flaw in judging what they are pretending, as if they were actually doing it.As you pointed out (and is a point I was going to make next), if we are judging the actions on screen (as if they were real events), and a scene (such as the baby porn) is offensive’ (beyond the story world during the film), then why is the same criticism not held on ANY violence or even emotionally cruel actions in any film equally judged? A police officer in a film gets shot Do we criticize the director for murdering a human? No, because he’s obviously an actor. So, why then would any other fake DEPICTION of something be treated differently? This is the part I don’t get, and where I differ in opinion from you (Will). I find, with film, you have to either accept it all (as fiction), or hold an (irrational) negative reaction to ANYTHING harmful/offensive ( including a woman getting slapped in the face!).Ideologies, to me, can be offensive if one were to assume that the film reflects what the filmmaker truly feels. But, then again, to each his own. Some ideologies are just conflicting’ with your own beliefs, while others are (almost unarguably) evil’. But, again, this is assuming that we know that the director truly condones the subject matter of the world within his film.It’s hard for me to put in words, but I’m basically saying you have to treat things as an all or nothing thing choose a side apply the same rule to all films. Otherwise, it’s really not fair, and leads to odd arguments (why one film, with mass murders, done humourously, is okay, whereas another one with a single, but somehow offensive, murder is suddenly very controversial). I’m not bashing you on this, Will, I hope you understand. I’m more questioning ALL of our thought processes on stuff like this wondering why we think as we do.In the end, it’s not just that imballance and uneven playing field but also the fact that, again, all this is just actors and cornsyrup. I can draw the most horrific sketch on a piece of paper, yet, in the end, that’s all it is a drawing. No one was killed. Nothing was damaged. And, also importantly, the events depicted (hopefully!) are not reflective of my own desires, beliefs or future plans. Even further, the drawing itself is just a series of lines! Move the lines around a bit, and now it’s a beautiful and inspirational thing’ and not offensive anymore. It’s just pencil lead on paper, in reality. True, it may be the RESULT of a mentality/belief/thought that is of concern (or is offensive), but the product itself is just a bunch of lines. I see films the same just recordings of people acting. My own visual effects of (say) a guys head exploding is really just a bunch of pixels a particle plugin a shatter filter some fractal noise. The image itself, whether horrific or lovely, is just pixels colour data.I’d love to continue chatting with you about this film (or, more accurately, offensive’ films in general), next time we meet as you obviously have very strong feelings about it, and it also brings up many opinions of mine. It’s a rather fascinating subject to me (psychologically, etc), and brings up things that I think we all need to stop and consider.There’s plenty of true (real life) horror out there.Anyway, that’s my mental burp for the day I hope we can have a good chat about that some day. Actually, I hope to get together with you again soon. Seems like years since we’ve been together last! hehehe

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