The only Canarian representation in the projections of the 69th film festival (in this sense, Canarian cinema retains the same peripatetic position as yesterday, today and hopefully not always) is the co-production between Galicia, the Canary Islands and Colombia They transport death, from the tandem of directors formed by the Galician Helena Girón and the Tenerife Samuel Delgado. Once the film was seen, I was left to find out what role Colombia plays in the film. Eles transportan a morte is a film belonging to the subtype of cinema that, since 2016, has taken control of public aid in the Canary Islands, a cinema with an intellectual vocation, generally overrated and with a pretentious and arrogant point. A cinema that has one of its characteristics that makes the sovereign flee from the room, if he has not previously fallen asleep in it.
It is a type of cinema with an intellectual vocation, generally overrated and with an arrogant point
I have been writing it since it began to be promoted a decade ago by events such as, mainly, the Las Palmas film festival: it is usually so boring that you could write the review during the same screening and so predictable that you could even write it in the same seat 12E of the Iberia Express plane A321 that transported you the day before the screening at this festival. Because of the intense pressure that their co-religionists do in networks and the media, as well as because of their total conviction that they are possessed of a truth that for them is written with a capital V, because of their need to finance themselves with nothing more than public subsidies, since commercially they have no escape, this type of cinema has an increasing place in festivals, although in the large ones, as here, they occupy space in parallel sections, in this case the Zabaltegui section, the only one in San Sebastián where films of any kind coexist. duration and that can include both premieres and films already released, and even awarded, in other festivals.
As a last reflection before viewing it, to say that the Hispanic Colombian Eles transportan a morte is a misnamed «risky» cinema, since the challenge – and real risk if it fails – is to make original and powerful cinema that is also capable to connect with the viewer of platforms and rooms. It is the only way to generate an economic exchange, and sometimes also artistic and cultural, which facilitates the progress of society as a whole.
The delicate, pinpoint and ultra-sensitive Chinese short film about the relationship between a grandson and his grandfather, Day is Done (Zhang Dalei), a beauty that was awarded the best short award at the last Berlin film festival, is a prelude that comes very great to They transport death, one of whose peculiarities is that it is spoken almost entirely in Galician and the Canarian accent, when it appears, is subtitled into peninsular Spanish.
My very limited intelligence is incapable of capturing the excellence that his 75 minutes undoubtedly treasure. I try, but it is in vain. It is impossible for me to capture the depth of the story that is recreated in the same way in a sudden and providential volcanic eruption, using archival images of those of La Palma tree Teneguía in 1971 (there they have been premonitory in the stake), that in the fur and eyes of a beautiful Galician colt, which in elongated images with a black screen (we suppose that due to its desire to convey the impression of darkness, which is always a game), or in the mummy number 6 of our Canarian Museum, which later appears in the credits named as one more actress, which seems to me a lack of respect for the deceased.
The delicate Chinese short ‘Day is Done’ is a beauty that won at the Berlin festival
It is the shell that surrounds this lesson in banal cinema that saves the film, especially its production and sound designs and interpretations. All this well-accomplished technical display helps the uninformed viewer to think that under the canvas of these leaden animated pictures of forced plasticity there is something that is being lost.
It should be noted, however, in relation to the discourse that its directors launch about the film to the press, that the official account of the conquest of the Canary Islands and the New World that it intends to dismantle, this supposed “anti-history of Discovery”, is, as knows anyone minimally informed, disassembled for many decades in books, essays and films. Or what they want to dismantle is the already dismantled discourse? What he says about the ancient Canaries that the Conquest left only “some traces” has also been widely surpassed. All this brings to mind the joke of Les Luthiers del Adelantado Rodrigo Díaz de Carreras, which appears on his album Vol. 1. The unforgettable voice of Marcos Mundstock says about him, who «founded Caracas … in the heart of Caracas! But it was already founded, man! ».