Art against moral: the battle of the Oscars | TV

Art against moral: the battle of the Oscars | TV



In the announced battle of the Oscars between the new TV (Netflix) and the old cinema, this one won, although it was an almost pyrrhic victory. The industry he recognized Netflix's model, but did not give him the keys to the house and the best movie was reserved for Green Book or, as the flame Gregorio Belinchón, Walking to Miss Daisy 2. Although it may be Netflix itself who has not fully understood the rules of the game, because Rome I could win any category except for the best movie. For that, he lacked the moral.

It has criticized Rome its slowness, its aestheticism and its pedantry, but the most persistent criticism, especially in Mexico and Latin America, It has been moral. As the journalist Diego Salazar summarized in Foreign Policy: "Rome it is a beautiful homage to domestic oppression" In other words: the condescending look of a young gentleman to the maids who appreciate the crusts of bread thrown by the masters. And some of that may be. After all, it is a story of autobiographical inspiration narrated by a young man who evokes his filial relationship with a maid. There is a portrait without prosecution, and if there is no explicit condemnation, many viewers conclude that there is implicit justification for a social order. But that is to demand from art something that art is not obliged to give and that, in addition, spoils it until it becomes a pamphlet. Rome It is art because it focuses on the portrait and not on judging what is portrayed. That is to say, Cuarón has told what he has wanted and not what some demanded him to tell.

TV has traditionally been the refuge of moralism, Manichaeism and simplicity, against the freedom of cinema, where ambiguity and sophistication triumphed. In this gala, this has been reversed: TV represents art, and cinema, moral rectitude. The battle is - as always - between those of us who believe that cinema is only cinema and those who believe it is also a mass.

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