The most interesting thing about a rule is to see how it breaks into pieces just touches the ground. A rule says that it is ugly that comedies appear in the very serious official sections of film festivals. Another, that properly serious issues such as abortion, adoption, maternity or, given the case, poverty should never cause no longer a laugh but simply a smile. The misfortune, by definition, lacks grace because, among other reasons, does not grace. Thanks. Although on this last there are opinions. Mack Sennett kept a comedy when a man falls into a ditch and, in addition, is killed. That a stepfather comes out on the other hand, that is a tragedy. Be that as it may be, and with the Genius of the Tartazo as a guide, the Gijón Festival has achieved in just two days in assets ending all norm that has crossed on its way Merced A ‘Ninjababy’, from the Norway YNGvil Sve Flikke, and ‘El Planeta’, from Argentina Amalia Ulman. In both cases it is comedies, misfortune and thanks. We have arrived.
The most expected by several and very enthusiastic reasons (one of them is that it competes at the European cinema awards with ‘sentimental’, Cesc Gay, in the best comedy section of the year) was the Nordic tape.
For the first time, a film that has converted its ease to destroy molds and make their eyes open their natural way of being in the world a lot.
Sve Flikke proposes to convert the classic schemes of romantic comedy into an authentic lodazal on which to splash fun.
Not only one of the common places that made Hugh Grant stammered or teaching his teeth to Julia Roberts during so many and so many intelligent reactionary parodies stays in ‘Ninjababy’ with a minimum of dignity.
Eschatologically, Procaz, Gamberra, uninhibited and extremely free, the film works from start to finish as a guillotine of obviousness.
The story of a woman who discovers too late is pregnant.
She does not even want to have the child or she can or abort or deliver to the creature in adoption (seen the absurd panoplia of substitute parents) is a possibility.
The boyfriend of her, who is not her father, wants the baby.
And the Father, who is not the boyfriend, is asshole (you could look for a less graphic adjective and perhaps more educated, but not more precise).
With this background panorama, the director makes the purpose of the propist (the ninjababy of the title) in the form of comic character that, surprise, proves to be the only one with a little sense and criteria.
The film is simply limited to letting himself be carried away by his own very punated sense of disorder.
It is not as much chaos as simple taste for life, that, in its best version, it seems, in effect, chaotic.
The protagonist interpreted something more than just brilliant by Kristine Thorp converts each one of her wishes, appetences, pain, sufferings and pleasures of her at a sincerity exhibition that, hurrying, could even be rated as a feminist.
Rarely a female character was at once as uneconomic and alien to the patterns as perfectly close.
And there precisely the greatest virtue of a comedy capable of dancing with grace, ease, intelligence and rhythm on the very edge of all the abysses.
All a discovery.
At his side, ‘El Planeta’, from the Debutante director Amalia Ulman, gave the just reply to the work of Norway.
As in the case of ‘Ninjababy’, the idea is to discuss until the same soil as Pisa.
The artist defined as multidisciplinary in Wikipedia, and emphasized in previous works with the rigors of self-examination in times of networks, now proposes the history of a poor mother and daughter in Gijón.
But his poverty, a step away from the eviction, is basically a fight to keep the appearances of a wealthy, cheerful and even sweet life (or Dolce).
It is, by saying it in some way, misery that shines.
What follows in this film starring the director of Argentine origin resident in New York and time ago neighbor of Asturias is a happy comedy of her most intimate sadness.
It is delirium with the same clarity that chronicle detailed of bitterness that runs through it.
It is exercise in style (and hence the black and white glamorous that presides it) with identical vocation that crude portrait.
And so.
Also, and if you want, we are in front of a feminist film by sensible, full and completely unable to assume the common places that are supposed to your gender, be the cinematographic or the other.
In summary, and as they say that Picasso said, it is necessary to know the rules as a professional to break them as an artist.
Here, be with Ulman or with Sve Flikke, there is no rule standing.
