This edition first published 2009 © 2009 by Tatjana Pavlovi´c, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, and Alejandra Sánchez Blackwell Publishing was acquired by John Wiley & Sons in February 2007.
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THANKS.SPANISH CINEMA Tatjana Pavlovi´c Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, and Alejandra Sánchez USING EITHER OF THE LINKS BELOW, ACCESS THE ADVERTISEMENT FOR THIS BOOK, FROM WHICH YOU CAN ORDER ONE OR MORE COPIES OF IT. MY BOOK, A Short Chronology of World Cinema, IS CURRENTLY AVAILABLE FROM THE SANDS FILMS CINEMA CLUB INLONDON. The Wandering Shadow richly deserves its prizes for young Guerra: the Films-in-Progress Award, San Sebastián the audience award, Toulouse Latin America Film Festival besf first film, Trieste Festival of Latin-American Cinema. How does one adequately respond to such horrific revelations? Perhaps: May there be a God, and may God forgive us. secrets of Anonymous’s past tumble out, and the unholy kinship between him and Mañe taxes their friendship to the limit of a freshly dug grave. In one bravura passage, for instance, a subjective camera records Mañe’s flight-across rain-dappled and, eventually, rain-soaked ground-that turns out to have been a dream.Įventually. Yet Buñuel doubtless hovers near Guerra’s brilliant material. Vicious boys in the street continually harass him, trip him to the ground, kick and beat him-scenes reminiscent of ones in Luis Buñuel’s Los olvidados (1950), except that Guerra’s film is so vivid and fresh that it reflects reality more than it recalls other films. Mañe has one leg missing: a mark of the burden of the past that he bears, which includes the slaughter of both his parents. Anonymous’s chair is, at some level, akin to the Cross that Jesus totes to his crucifixion.
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He does get caught, however, and Mañe, his new friend, possesses the means to play the corruption-game with the police, blackmailing them to secure a license for him.
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As a result, he is forever running away from the law-a fleet, elusive shadow. He does so illegally, unable to afford a business license. The otherwise anonymous “El hombre de la silla” is burdened by his past in addition to the bullet lodged in his brain, he carries on his back the chair by which he ekes out a sub-subsistent living as a silletero, carrying men, one at a time, throughout downtown Bogotá. At the same time, in a kind of psychological allegory, both men exist as complementary parts of the fractured, embittered national psyche and personality. Each becomes the other’s protector both bear the scars ofColombia’s tortured political past. Both (as I am) are legally blind one of them carries around in his brain a bullet-the mark of a political execution that went awry. It revolves around the new friendship between two impoverished men in Bogotá, one homeless, the other, long behind in paying rent, nearly homeless.
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Now I have seen Guerra’s earlier The Wandering Shadow, an extraordinary low-budget, black-and-white feature debut. It is the thoughtful, inspired work of a Colombian kid in his twenties, writer-director Ciro Guerra. You may recall that I named Los viajes del viento- The Wind Journeys-the best film of 2009.