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Fantasma Material (N. 2, 2025): Revista Anual de Cine
Paperback
ISBN13: 9781961722361
Publisher: Rialta Ediciones
Published: Dec 31 2025
Pages: 196
Weight: 1.06
Height: 0.51 Width: 7.00 Depth: 10.00
Language: Spanish
Fantasma Material en su entrega segunda se ocupa del Caribe, esa máquina de espuma que, según BenÃtez Rojo en La isla que se repite, conecta el sur con el norte a través de un puente discontinuo, enlazando el discurso del mito con el discurso de la historia, o bien, el discurso de la resistencia con el discurso del poder. En un momento en el que, sobre la región, se coloca de manera inusitada el tablero geopolÃtico, conviene pensar las formas en que algunos de sus cines se resisten, tanto a demandas nacionalistas como a injerencias neo-coloniales.
Con ese propósito, nos acercamos al audiovisual contemporáneo de Venezuela, Cuba, Puerto Rico y República Dominicana desde sus zonas menos visibles, más frágiles y marginalizadas. Un conjunto elusivo de pelÃculas huérfanas y prácticas comunitarias, de rumores folklóricos y gestos desterritorializados, de ficciones desmontadas y exploraciones posnacionales, en cuyo ruido encontramos el ensayo de una gramática antitotalitaria. Este análisis de fenómenos particulares y dispersos aspira, de cierta forma, a aliviar el aislamiento en que suelen operar las culturas de estas tierras.
El Caribe es también una máquina feedback en sus pliegues y repliegues, pasado y presente se solapan y condensan. Desde los márgenes del underground neoyorquino de los años '60 y '70, reclamamos la obra experimental del puertorriqueño José RodrÃguez Soltero y de los cubanos Fernando y Miñuca Villaverde. A estos últimos, cuyos filmes exÃlicos han sido restaurados y puestos a circular recientemente, dedicamos un dossier en profundidad. La conceptualización de un cine pájaro viene a completar el rescate anarchivÃstico de un cine caribeño producido en la diáspora, devuelto a su inestable y fragmentada tradición.
Si lo pensamos como un meta-archipiélago, el territorio que abordamos carece de centro y de lÃmites fijos. Asà como un volcán en la isla de Fogo puede emparentarse de forma improbable con la arquitectura de Brasilia, proponemos una serie de corrimientos. Por un lado, un ensayo sobre el cine de Joana Pimenta y Adirley Queirós, cuya obra es ejemplar respecto a una obsesión que nos ocupa: la constante reinvención del sentido de lo polÃtico. Por otro, un acercamiento a dos proyectos de archivo que rebasan las fronteras de China y Cuba para documentar y escapar a los efectos de sus respectivos totalitarismos.
El número concluye con la sinopsis argumental que escribió Reinaldo Arenas para un filme sobre Paradiso, la novela de José Lezama Lima, tomando como base sus primeros capÃtulos. No se nos ocurre ahora mismo una secuencia mejor sobre el Caribe que esta, nacida del cruce de miradas entre dos de sus más grandes escritores:
Finalmente, mientras el estruendo continúa, la cámara se irá alzando hasta tomar todo el cañaveral fluyendo hasta el infinito como un mar, pero ya no se oirá el ruido de la selva sino una flauta. Se navega, se navega, se oye el batir de las olas, las olas que se alejan y vuelven a chocar contra la costa, la madrugada poblada de estrellas. Se verá el cielo estrellado, se oirá el batir del mar. Pero no se verá el mar... Lentamente, la mano de Cemà descorre los tules del mosquitero, se levanta de la cama donde estaba durmiendo.
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