{"id":15569,"date":"2016-07-26T18:05:00","date_gmt":"2016-07-26T18:05:00","guid":{"rendered":""},"modified":"2026-06-29T01:45:51","modified_gmt":"2026-06-29T01:45:51","slug":"el-cuarto-prohibido-se-presenta-en-el","status":"publish","type":"post","link":"https:\/\/entrepalabrasmxdigital.com\/?p=15569","title":{"rendered":"El cuarto prohibido se presenta en el 36 Foro Internacional"},"content":{"rendered":"<div align=\"center\" style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<ul>\n<li><i style=\"line-height: 22.72px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\"><strong style=\"line-height: 21.3px;\">De naturaleza descabellada y on\u00edrica, la cinta de&nbsp;<\/strong><strong style=\"line-height: 21.3px;\">Evan Johnson y&nbsp;<\/strong><strong style=\"line-height: 21.3px;\">Guy Maddin<\/strong><strong style=\"line-height: 21.3px;\">&nbsp;explora distintas historias con el lenguaje del cine mudo<\/strong><\/span><\/i><\/li>\n<\/ul>\n<p><\/p>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><a href=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEgacfGijVf0z2vXScyKiMwNVGC10-K6H-sBgnpBb504ipI30Ciwc9Q0lZpmYFIi5IoNrO0O1mv9ZebIIge7pA7ZO2twI5-vAr1NcDwU8Cl3lKSCyDokaMQDRqVO0j4CW965pMmHrth3M6rF\/s1600\/a14.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"><img fetchpriority=\"high\" decoding=\"async\" border=\"0\" height=\"222\" src=\"https:\/\/entrepalabrasmxdigital.com\/wp-content\/uploads\/2016\/07\/a14.jpg\" class=\"wp-image-15570\" width=\"400\" \/><\/a><\/span><\/div>\n<p><\/p>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">El lenguaje cinematogr\u00e1fico de la actualidad ya est\u00e1 muy distante de las necesidades y las precariedades del cine silente de principios del siglo XX. Antes de que llegaran las&nbsp;<em style=\"line-height: 22.72px;\">talkies<\/em>(sobrenombre que se le dio a las primeras pel\u00edculas con sonido), la comunicaci\u00f3n entre el filme y el p\u00fablico ten\u00eda que recurrir a m\u00e9todos que compensaran la falta de audio, como intert\u00edtulos y gesticulaciones artificiales.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><em style=\"line-height: 22.72px;\">El cuarto prohibido<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">The forbidden room<\/em>, 2015), largometraje dirigido por Evan Johnson y Guy Maddin, es una buena oportunidad para las nuevas generaciones de recuperar esa expresividad del cine mudo modernizada con valores de la actualidad. Con un formato fractal que presenta historias dentro de historias dentro de historias, esta cinta novedosa ser\u00e1 parte del 36 Foro Internacional de la Cineteca Nacional y ser\u00e1 exhibida&nbsp;<strong style=\"line-height: 22.72px;\">a partir del s\u00e1bado 23 de julio<\/strong>&nbsp;en la&nbsp;<strong style=\"line-height: 22.72px;\">Sala 2, Salvador Toscano<\/strong>.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">No es la primera vez que Maddin recicla los viejos m\u00e9todos del primer cine para contar sus historias. A trav\u00e9s de 11 largometrajes, que incluyen temas tan exc\u00e9ntricos como la lucha de un soldado amn\u00e9sico en las postrimer\u00edas de la Primera Guerra Mundial en&nbsp;<em style=\"line-height: 22.72px;\">Arc\u00e1ngel<\/em>(<em style=\"line-height: 22.72px;\">Archangel<\/em>, 1990) o los romances problem\u00e1ticos que provoca una estatua de Venus en&nbsp;<em style=\"line-height: 22.72px;\">El crep\u00fasculo de las ninfas de hielo<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">Twilight of the ice nymphs<\/em>, 1997), el cineasta canadiense ha intentado basar su t\u00e9cnica en las pr\u00e1cticas de intertitulaje y actuaci\u00f3n corporal.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Esta renovaci\u00f3n del estilo del cine mudo sostiene en&nbsp;<em style=\"line-height: 22.72px;\">El cuarto prohibido<\/em>&nbsp;una serie de narraciones que parecer no estar ligadas entre s\u00ed: las desventuras de la tripulaci\u00f3n de un submarino que emplea m\u00e9todos poco ortodoxos para mantener su raci\u00f3n de ox\u00edgeno en el fondo del mar, de un cirujano secuestrado por \u201cmujeres esqueleto\u201d y de un bigote que busca la compa\u00f1\u00eda de la viuda de su antiguo portador, entre otras escenas delirantes.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La naturaleza descabellada y on\u00edrica del filme es consecuencia de la fascinaci\u00f3n de su autor por el movimiento surrealista. Desde su primer cortometraje,&nbsp;<em style=\"line-height: 22.72px;\">El padre muerto<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">The Dead Father<\/em>, 1985), Maddin ya aprovechaba las capacidades del formato blanco y negro en 16 mm para narrar cinematogr\u00e1ficamente a la manera de sus mayores influencias en ese entonces: Luis Bu\u00f1uel y Man Ray.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La producci\u00f3n de esta entrega se da de manera paralela a uno de los proyectos audiovisuales m\u00e1s recientes de Maddin. Titulada&nbsp;<em style=\"line-height: 22.72px;\">Seances<\/em>, la colaboraci\u00f3n con Evan y Galen Johnson, y el National Film Board of Canada, es un secuenciador de recreaciones de pel\u00edculas perdidas que, a trav\u00e9s de un algoritmo personalizado, ordena escenas aleatorias en un cortometraje de 10 a 13 minutos cada vez que un usuario le da clic al sitio&nbsp;<em style=\"line-height: 22.72px;\">web<\/em>.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Al seguir con la tradici\u00f3n pr\u00e1cticamente museogr\u00e1fica e interactiva de sus instalaciones art\u00edsticas, es tambi\u00e9n notable el hecho de que&nbsp;<em style=\"line-height: 22.72px;\">El cuarto prohibido<\/em>&nbsp;fue grabada en estudios p\u00fablicos en donde cualquiera puede ingresar para presenciar el rodaje; el primero de ellos en el Centre Georges Pompidou en Par\u00eds y el segundo en el Centre PHI en Montreal.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">En general, esta producci\u00f3n ha sido recibida positivamente en su gira de festivales y apoyada por cr\u00edticos como Stephen Holden, de&nbsp;<em style=\"line-height: 22.72px;\">The New York Times<\/em>; Todd McCarthy, de&nbsp;<em style=\"line-height: 22.72px;\">The Hollywood Reporter<\/em>, y J. R. Jones, del&nbsp;<em style=\"line-height: 22.72px;\">Chicago Reader<\/em>, a pesar de su car\u00e1cter experimental y de contar con una t\u00e9cnica narrativa que bien podr\u00eda considerarse anacr\u00f3nica en nuestra era.<\/span><span style=\"font-family: Arial, Helvetica, sans-serif; line-height: 22.72px;\">&nbsp;<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<strong style=\"line-height: 22.72px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">El cuarto prohibido<\/span><\/strong><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><strong style=\"line-height: 22.72px;\"><em style=\"line-height: 22.72px;\">The Forbidden Room<\/em><\/strong><strong style=\"line-height: 22.72px;\">, Canad\u00e1, 2015, 130 min.<\/strong><\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><strong style=\"line-height: 22.72px;\">D:<\/strong>&nbsp;Guy Maddin y Evan Johnson.&nbsp;<strong style=\"line-height: 22.72px;\">G:<\/strong>&nbsp;Evan Johnson, Robert Kotyk, Guy Maddin, basados en un argumento de Allan Dwan y un relato de John Ashbery.&nbsp;<strong style=\"line-height: 22.72px;\">F en C:<\/strong>&nbsp;Benjam\u00edn Kasulke, Stephanie Anne Weber Biron.&nbsp;<strong style=\"line-height: 22.72px;\">M:<\/strong>&nbsp;Galen Johnson, Guy Maddin, Jason Staczek.&nbsp;<strong style=\"line-height: 22.72px;\">E:<\/strong>&nbsp;John Gurdebeke.&nbsp;<strong style=\"line-height: 22.72px;\">Con:<\/strong>&nbsp;Mathieu Almaric (Thadeusz M \/ mozo), Geraldine Chaplin (t\u00eda Chance \/ institutriz), Charlotte Rampling (madre del mozo), Maria de Medeiros (madre ciega \/ Clotilde), Roy Dupuis (Cesare), Clara Furey (Margot), Louis Negin (Mary \/Smithy \/ Mars \/ organizador \/ se\u00f1or Lanyon).&nbsp;<strong style=\"line-height: 22.72px;\">CP:<\/strong>&nbsp;Phi, Buffalo Gal Pictures, Kidam.&nbsp;<strong style=\"line-height: 22.72px;\">Prod:<\/strong>&nbsp;Phoebe Greenberg, Phyllis Laing, Guy Maddin y Penny Mancuso.&nbsp;<strong style=\"line-height: 22.72px;\">Dist:<\/strong>&nbsp;Interior XIII.<\/span><span style=\"font-family: Arial, Helvetica, sans-serif; line-height: 22.72px;\">&nbsp;<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<strong style=\"line-height: 22.72px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Premios y festivales<\/span><\/strong><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">2015 Premio al Mejor Director. Festival de Cine de Bildrausch-Basilea. Suiza. | Selecci\u00f3n oficial de la secci\u00f3n Nuevas Fronteras. Festival de Cine de Sundance. Estados Unidos. | Selecci\u00f3n Oficial de la secci\u00f3n&nbsp; Forum. Festival Internacional de Cine de Berl\u00edn. Alemania | Selecci\u00f3n oficial. Festival Internacional de&nbsp; Cine de Hong Kong. China | Selecci\u00f3n oficial. Festival Internacional de Cine de Autor de Barcelona. Espa\u00f1a.<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>De naturaleza descabellada y on\u00edrica, la cinta de&nbsp;Evan Johnson y&nbsp;Guy Maddin&nbsp;explora distintas historias con el lenguaje del cine mudo El lenguaje cinematogr\u00e1fico de la actualidad ya est\u00e1 muy distante de las necesidades y las precariedades del cine silente de principios del siglo XX. Antes de que llegaran las&nbsp;talkies(sobrenombre que se le dio a las primeras [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":15570,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-15569","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>El cuarto prohibido se presenta en el 36 Foro Internacional - EntrePalabras<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/entrepalabrasmxdigital.com\/?p=15569\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El cuarto prohibido se presenta en el 36 Foro Internacional - EntrePalabras\" \/>\n<meta property=\"og:description\" content=\"De naturaleza descabellada y on\u00edrica, la cinta de&nbsp;Evan Johnson y&nbsp;Guy Maddin&nbsp;explora distintas historias con el lenguaje del cine mudo El lenguaje cinematogr\u00e1fico de la actualidad ya est\u00e1 muy distante de las necesidades y las precariedades del cine silente de principios del siglo XX. 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