Venecia, Italia. Como un grito de dolor, el cine latinoamericano denuncia en el festival de cine de Venecia injusticias, racismo, clasismo y esclavitud moderna, con imágenes tan realistas que sacuden al espectador.
Fuente: AFP/Kelly Velasquez
“Es agobiante esa historia”, comenta aún impresionada la cinéfila italiana Silvana Sari, 65 años, tras asistir a la proyección del filme brasileño “7 Prisioneros”, en la sección Horizontes Extra, entre las más innovadoras.
Dirigido por el estadounidense-brasileño Alexandre Moratto, de 33 años, autor del elogiado “Sócrates”, la película narra con eficacia y ritmo el terrible fenómeno de la trata de humanos y la esclavitud a que están sometidos los trabajadores, tal como ocurre en el filme del venezolano Lorenzo Vigas, “La caja”, sobre las maquiladoras en México, en competición oficial.
Producida por Netflix, la película de Moratto muestra el mundo que se esconde detrás de las persianas de algunas fábricas o almacenes de una gigantesca metrópoli como Sao Paulo, donde cientos de personas se encuentran reducidas a la esclavitud, lejos de sus familias, con el fin de enriquecer oscuros individuos.
To address a phenomenon that has spread even in Europe — it is enough to travel south of Rome to the tomato plantations to discover the situation of immigrants who work illegally — the director does not limit himself to denouncing it, but describes the moral, family dilemma and social of all the characters, both the victims and the perpetrator.
“The beauty of this film is in the perfect direction, in the intense interpretation of its actors (some of them in the first experience), in the rawness of the subject and above all in the ability to show the problem from different perspectives, without pointing finger against someone, “wrote the festival’s Today newspaper in an article.
“VICTIM AND EXECUTOR, PART OF THE SAME STORY”
The film shows how the executioners are both victims and how the victims become executioners, there are no “good guys” or “bad guys”, they are all part of a perverse gear and of a system that forces you to face that dilemma in order to survive. .
“In the film, as in life, everything has a price,” Moratto summed up in a meeting with the audience, after saying that he spent many weeks with United Nations teams that work with undocumented immigrants, where he heard their testimonies, including that of a Bolivian who he was a slave for 16 months, “a story that I could not forget,” he confessed.
“There are no winners here. Victim and executioner are part of the same story,” acknowledged actor Rodrigo Santoro, in the hateful role of Lucas, the man who keeps his workers locked up and forces them to extract the copper from the cables , separate the metals from the car scraps and make them up to pay for the shower.
With the participation of some 16 films in the different sections of the festival, including four in the official competition, Latin American cinema has shown that it is going through a good time and that it manages to shake the viewer by telling the present.
Faithful to the tradition of political and denunciation cinema, a new generation of filmmakers, among them the Mexican Joaquín del Paso, 35, with “The hole in the fence”, addresses the issue of education in Mexico, its racism and classism , to portray the holidays of a group of teenagers from a ruthless elite, just as their very Catholic teachers have been.
“It’s all based on real events,” said the director, who was educated at an ultra-conservative Opus Dei college and now leads a group of independent filmmakers from various continents, Amondo Films Collective.
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