Cinema político em Buenos Aires

Sylvia Colombo
Os argentinos adoram cinema. Os argentinos adoram política. Por conta disso, um festival de cinema político, como o que o INCAA (entidade do governo dedicada ao cinema) promove até o próximo dia 27, é sucesso na certa. Quem estiver em Buenos Aires nesta Semana Santa e quiser fugir do roteiro turístico faz bem em se aproximar do evento, que ocorre em cinco endereços do centro da cidade, o
Monumental (Lavalle 836); o Cine Cosmos (Corrientes 2046); o auditório da biblioteca do Congreso (Alsina 1835); o Centro Cultural da Cooperação (Corrientes 1543), o auditório do hotel Bauen (Callao 360) e o Centro Cultural Rojas (Corrientes 2038). São 137 filmes de 32 países. A entrada é gratuita.
No sábado à noite, saí para uma dessas sessões, e fui ver “The Angel’s Share”, do britânico socialista Ken Loach, de quem sou fã há anos, desde seu clássico “Tierra y Libertad” (1995). O filme, apesar de ser uma comédia, traz uma dura crítica social, ao contar a história de um grupo de delinquentes em trabalho de recuperação, que tramam um golpe para roubar um barril de whisky que vale 1 milhão de libras. Loach acerta a mão no tom, que faz rir e pensar, e na construção dos personagens, rudes mas poéticos a seu modo.
Muito se fala da degradação do centro de Buenos Aires, do ocaso da sua vida boêmia causados pela crise econômica e pelo crescimento desenfreado da cidade. Mas, ainda assim, é um prazer ir ver um filme na tela grande e depois poder sair caminhando pela avenida Corrientes até um de seus restaurantes e bares que servem pizza engordurada, deliciosas empanadas, água com gás no sifão e cerveja em canecão de vidro. Isso, felizmente, ainda é possível fazer.
As salas do festival estão cheias, tanto para os filmes quanto para as palestras. Vieram como convidados para falar Paul Laverty (roteirista de Ken Loach), a brasileira Tata Amaral, que está no júri, e o boliviano Jorge Sanjinés. Este veio apresentar seu “Los Insurgentes”, sobre a resistência indígena em seu país.

Entre os outros destaques, está certamente a seleção argentina. Seguindo uma tradição que começou com “El Fusilamiento de Dorrego” (1908) e seguiu até “Infância Clandestina”, de Benjamin Ávila, que está na programação e conta a história real de um garoto filho de montoneros, o cinema argentino mostra sua forte tradição política. O exemplo mais conhecido dos brasileiros talvez seja “A História Oficial”, que levou o Oscar de melhor filme estrangeiro de 1985. No evento, estão obras sobra a ditadura, o peronismo e o kirchnerismo.

Integrante do júri, o venezuelano Carlos Aizpurúa trouxe “Amaneció de Golpe”, relato cinematográfico do golpe cívico-militar comandado por Hugo Chávez em 1992 contra o governo de Carlos Andrés Pérez. Também estão entre os destaques, “Las Carpetas”, de Maite Rivera (Porto Rico); “Carrusel”, de Guillermo Iván (Colômbia); “Con mi Corazón en Yambo”, de María Fernanda Restrepo (Equador) e “Carlos, el Amanecer Ya no es una Tentación”, de Thierry Deronne (Venezuela).

Para um país que vive cada vez mais ensimesmado em sua própria novela, um festival como esse vem em boa hora, para lembrar que Buenos Aires não deixou de ser uma metrópole cosmopolita, ainda que o atual governo de turno insista em isolar seu próprio país do resto da América Latina.

 

 

 

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