Cine-favela à argentina
Até outro dia, o que distinguia o cinema argentino do brasileiro, em linhas gerais, era o fato de o primeiro dedicar-se mais a dramas íntimos, familiares, geralmente ligados à classe média, que neste país tem um peso enorme. Enquanto isso, o segundo estava mais relacionado ou à temática sertaneja, seguindo a tradição de Glauber Rocha, ou à dinâmica da vida nos grandes centros, e aí retratando favelas e bairros pobres, como em “Cidade de Deus” (2002), “Tropa de Elite” (2007) e “Linha de Passe” (2008).
Com “Elefante Blanco”, sétimo longa de Pablo Trapero, que estreou nesta semana em Buenos Aires e no Festival de Cannes, o cinema argentino faz uma incursão a um universo mais conhecido por cineastas brasileiros, as favelas, ou “villas” como se diz por aqui.
A experiência é muito bem sucedida. Trapero, também diretor de “Mundo Grua” (1999), “Leonera” (2008) e “Carancho” (2010), retrata a luta de dois padres, ou “curas villeros”, que tentam melhorar a vida dos habitantes de Villa Virgen, uma imensa favela de Buenos Aires com mais de 30 mil habitantes.
Cozinhas de produção de cocaína, perseguições, abandono, violência e pobreza são mostrados de modo cru e impactante. O “elefante branco” do título é um velho hospital em construção abandonado por diversos governos que os religiosos usam como base para sua atuação no local. A cena em que o padre francês resgata o corpo de um adolescente morto de mãos inimigas é a mais intensa da produção.
Curioso ver o filme numa sala de Buenos Aires. Um público menos acostumado a cenas de sangue e tiros reage a cada passagem forte, virando a cabeça ou dizendo: “ai”. Para platéias que passaram pelos filmes de José Padilha, “Elefante Blanco” certamente parecerá bem mais leve, embora não menos dramático.
O filme inspira-se na trajetória do Padre Carlos Mugica, ligado a um movimento de padres do Terceiro Mundo, morto por militantes de um grupo de direita, em 1974. O personagem do onipresente Ricardo Darín, o padre Julián, evoca e homenageia o ídolo popular. Não há, porém, menções diretas ao ambiente político da época de sua morte, os conturbados anos 70 pré-ditadura, nem ao dos dias de hoje.
Já bastante popular no Brasil, o cinema argentino agora apresenta-se com um filme que certamente terá muito apelo em nosso país. Em vários momentos, “Elefante Blanco” poderia se passar em qualquer grande favela do Rio de Janeiro ou de São Paulo. Sinal de que há muito o que refletir em conjunto sobre os dramas sociais dos grandes centros do Mercosul.
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