Cinema e ditadura na Argentina
Ao diretor Benjamin Ávila, 40, jornalistas estrangeiros têm perguntado muito “por que outro filme sobre a ditadura?”. Filho de uma guerrilheira montonera morta nos anos 1970, o cineasta tem mais do que razões pessoais de rebuscar esse passado. “Creio que a Argentina ainda não o discutiu a fundo”, disse, em entrevista à Folha.
Ávila é o diretor de “Infância Clandestina”, filme que representará a Argentina no Oscar de 2012 e que mostra o processo de tomada de consciência de Juan, filho de um casal de montoneros que volta do exílio para lutar e morrer durante a chamada “contraofensiva”, em 1979. O filme estreia sexta no Brasil.
Para entender melhor esse episódio dramático da história do país vizinho, vão dicas dos cinco melhores filmes sobre a ditadura militar argentina (1976-1983).
1. “A História Oficial”
Vencedor do Oscar de melhor filme estrangeiro em 1985, conta a história da professora Alicia Manet de Ibáñez, vivida pela veterana Norma Aleandro. Apesar de dar aulas sobre o passado do país, Alicia ignora o presente e só depois de questionada por estudantes começa a refletir sobre o que está acontecendo e a desconfiar de que sua filha adotiva possa ter sido roubada de guerrilheiros mortos pela repressão. O filme tem o grande mérito de refletir sobre o período no calor dos acontecimentos, com a nova democracia ainda engatinhando.
2. “Garage Olimpo”
(Marco Bechis, 1999)
Uma jovem de 18 anos, Maria Fabiani, é levada pelo exército argentino e torturada na prisão clandestina conhecida como Garage Olimpo. Seu torturador, curiosamente, é um jovem que vivia de aluguel na casa da mãe de Maria e tinha por ela uma paixão não resolvida. Enquanto Maria passa pelas sessões de tortura e vive um inusitado flerte com o torturador, sua mãe sai em busca dela por Buenos Aires.
3. “Tangos, o Exílio de Gardel”
(Fernando Solanas, 1985)
O filme conta a história de um grupo de argentinos exilados em Paris (como o próprio diretor), que tenta armar um espetáculo dedicado ao cantor Carlos Gardel. A trilha sonora é de Astor Piazzolla. Solanas dirigiu outros bons filmes sobre a política argentina, como “La Hora de los Hornos”, mas recentemente perdeu-se em produções panfletárias. Hoje é um reputado deputado de esquerda clássica.
4. “Kamchatka”
(Marcelo Piñeyro, 2002)
A ditadura vista pelos olhos de uma criança de dez anos. Seus pais, vividos por Cecila Roth e Ricardo Darín, fugindo dos militares, levam o garoto para uma casa fora de Buenos Aires. No lugar, uma das poucas alternativas de passar o tempo era jogar uma variante do nosso War, em que Kamchatka, uma província russa, parecia um lugar de refúgio e esperança. Quando por fim o casal desaparece, é a lembrança desse lugar que o garoto guardará dos pais.
5. “Crónica de una Fuga”
(Adrián Caetano, 2006)
Baseado numa história verídica, conta uma tentativa de fuga de um grupo de prisioneiros da temida Mansion Seré, um centro de detenção e tortura. Entre eles, estava Claudio Tamburrini, goleiro de um time de futebol que virou símbolo da luta contra a repressão depois do episódio. Realizado num momento de alta do cinema argentino no cenário internacional, o filme teve ampla repercussão internacional.
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The mother was quite ill if she did not get news for some time, and when I came with tidings she was interested in the smallest details, and inquired with trembling curiosity. My accounts relieved her heart; she almost died of fright once when Natasha had fallen ill, and was on the point of going to her herself. But this was an extreme case. At first she was not able to bring herself to express even to me a desire to see her daughter; and almost always after our talk, when she had extracted everything from me, she thought it needful to draw herself up before me and to declare that though she was interested in her daughter’s fate, yet Natasha had behaved so wickedly that she could never be forgiven. But all this was put on. There were times when Anna Andreyevna grieved hopelessly, shed tears, called Natasha by the fondest names before me, bitterly complained against Nikolay Sergeyitch, and began in his presence to drop hints, though with great circumspection, about some people’s pride, about hard-heartedness, about our not being able to forgive injuries, and God’s not forgiving the unforgiving; but she never went further than this in his presence. At such times her husband immediately got cross and sullen and would sit silent and scowling, or begin suddenly talking of something else very loudly and awkwardly, or finally go off to his own room, leaving us alone, and so giving Anna Andreyevna a chance to pour out her sorrows to me in tears and lamentations. He always went off to his own room like this when I arrived, sometimes scarcely leaving time to greet me, so as to give me a chance to tell Anna Andreyevna all the latest news of Natasha. He did the same thing now.
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Cinema e ditadura na Argentina | Sylvia Colombo – Folha de S.Paulo – Blogs