Children of the same overwhelm. The premieres of ‘juvenile delinquent stars’, by Juan Vicente Córdoba, and ‘Bad ‘ ruin’, of Carlos Salado, retrieved from the film hidden in the neighborhood, the margins, the ‘trap’ as a symptom
suddenly, The Pigtail and Yung Beef on offer as the heroes of an art which claims to have the reality as its horizon, and mirror
In the first sequence of stray Dogs II, the protagonists of the original film contemplate their own exploits on television. They are already stars. You know the protagonists ephemeral of a world condemned, but stars in the end. Said Eloy of the Church, the father together with José Antonio de la Loma of the emergence of the cinema quinqui, that of the rugged invites to suicide, to suicide sweet. “It is a fear of uncontrolled, that it does not draw you,” added meticulous in the description of your deeper veins. Also he was a hero unconquered in a world before only forgotten, denied. In the end, the success of that film was an achievement against all and despite everything, against the official discourse of the Transition, anti-europeanism forced, against Spain sparkling of the birds.
By that which references always give the grandparents, not the parents, each time we are witnessing a rebirth of the juvenile delinquent, who is as much a claim to the ethics and politics of the silenced. Just two years ago, Carlos Salado (with the help of Ramón Guerrero The Christ) surprised the attendance with Raising rats, a broken version, sorrowful and perfectly new from the same wound. Well, now is Poor ruin, a medium-length film -which you can see on YouTube – that comes back to life broken and is now remade the protagonist, accompanied in his film debut for the star of the trapYung Beef (from the group Los Santos, a former Pxxr Gvng). And at the same time that the veteran Juan Vicente Córdoba presents Quinqui stars, a journey through the same space without a face. It is not so much nostalgia as the need to give voice and light to the other, dark. Is complaint, but it is also something more: it is recognition proud to own.
“actually,” says Cordoba, “in spite of the intervening years, between one crisis and another, still the same humidity and the same drains without fix.” Account of the director that his intention has never been to abandon oneself to the nostalgia of a film which, in effect, it is urgent to claim. “My first motivation for the film was a question: where are the new gangs?”, says. And before you respond, pause and linger on to tell his own story. He was born in the madrid district of Entrevías. There, this son of toreador grew up with the M-30 was converted in to a insurmountable barrier. There are fond of the film session doubles. And there, finally, one day he saw Navajeros. “In that moment I saw that film spoke of the same people who daily saw in the billiards room and the street; that day I discovered that the film could tell my story and that of so many like me”, he concludes.
class=”icon-foto_16_g”> Scene of ‘juvenile delinquent stars’
The case of a Bad wreck is different and identical at the same time. This time is also the music (Yung Beef this time) the engine that everything moves. But now, as the Torete in that sequence in which he saw himself, the hero broken of Raising rats, Ramon Guerrero, is also observed. Has been released from jail and the idea and purpose is redone inside and out. The film, in a parallelism that is not searched with the Cordoba, only wants to claim what is authentic, unique and, above all, own it. And this, without being carried away by “that fear uncontrolled that it does not draw you”.
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