Bestia es parte de un corpus de obras que hacen el trabajo de memoria y traen de vuelta o presentan por primera vez, a las generaciones más jóvenes, estas historias que son fuertes, pero necesarias. Para quienes se preguntan, ¿para qué desenterrar el pasado?, la respuesta es simple: para que las generaciones futuras no cometan los mismos errores, para que nunca más en Chile tengamos una dictadura.
Por A.C. Mercado-Harvey
La semana pasada nos enteramos que el cortometraje Bestia (2021) de Hugo Covarrubias es el segundo filme chileno de este tipo nominado al Óscar de la Academia de Artes y Ciencias Cinematográficas de Hollywood, el premio más prestigioso y conocido en el mundo del cine. Este corto, pese a ser animado, no es apto para niños, ya que toca una temática terrorífica de nuestra historia: la tortura. He aquí la efectividad del cortometraje: tomar un medio comúnmente usado para los más pequeños y usarlo para una película de terror, pero no de un terror ficticio sino para contar un horror real, histórico y pasado. La yuxtaposición de una estética infantil y el terror de una realidad tan tremenda como la tortura produce un efecto de “extrañamiento”, un término que indica las recepciones sobre formas artísticas para hacerlas extrañas a su naturaleza. En el caso de Bestia, esto se logra al utilizar un medio como la animación para crear una obra que narra una terrorífica historia verdadera. Esto provoca un efecto de desfamiliarización en el espectador que se ve descolocado entre la estética presentada y el contenido de la animación. Covarrubias, además, logra un look particular con la utilización de modelos de plástico y cartón que se ven primitivos o naif, con elementos de gran sofisticación como la imitación de muñecas de porcelana alemanas. Hay que destacar que el ambiente de los ochenta, su estética y su materialidad están logrados hasta los detalles más mínimos: la casa, la ropa, la radio, los platos, etc.

La falta de diálogo es otro poderoso elemento que permite el enfoque del espectador en las imágenes, gestos y detalles que normalmente pasan desapercibidos en una película hablada. La experiencia sensorial que se consigue en Bestia está cuidadosamente planeada por medio de los detalles de sonido, colores y hasta los ladridos del perro. Otro punto que le da particular calidad al cortometraje es que, pese a ser un corto animado, no presenta una caricatura de la torturadora Ingrid Olderöck. Por el contrario, aparece como un personaje atormentado por pesadillas, solitario y con una vida monótona. De hecho, el aparecer como víctima de un atentado por querer revelar secretos de la DINA, solo la humaniza y le da una dimensión mucho mayor que si se hubiese presentado solo como una mujer malvada y miserable. La complejización del personaje hace que el cortometraje logre la calidad artística que tiene.

Especial mención merecen las pesadillas de la protagonista que recuerdan al surrealismo y a la estética de Buñuel y Dalí. La desintegración de elementos, la sangre y la decapitación son símbolos de gran potencia que nos adentran en el mundo atormentado de Ingrid Olderöck, lo cual hace más denso el personaje en vez de caricaturizarlo. Hay detalles de gran simbolismo como el orificio en la cabeza de muñeca del personaje, las víctimas sobre las nubes y la paloma de la paz en el diario que llevaba la protagonista cuando otro agente de la DINA le dispara en la calle. La directora artística del corto, Constanza Wette, ha señalado que su trabajo se centró en la materialidad de los objetos que se ven en cada escena y los planos. Wette proviene del mundo del teatro, pero pronto se interesó en el trabajo de la animación y en la técnica del stop motion, utilizada en Bestia.

Ofelia Ferrán, una académica española, escribió hace unos años un libro sobre el trabajo de memoria en la literatura española de la generación que se ha denominado de la posmemoria. Allí, Ferrán afirma que el trauma es inaccesible de modo directo, pero que al mismo tiempo está forzosamente presente. Durante la posmodernidad han aparecido una serie de estudios sobre el trauma, llegando a lo que se ha denominado “literatura del trauma”. En Chile tenemos una serie de autores de la misma generación de Covarrubias, nacidos a fines de los 70, que eran demasiado pequeños para recordar bien la dictadura, la que, no obstante, fue parte de su niñez, y que han escrito obras que se podrían considerar dentro del corpus de nuestra literatura del trauma. Esto ha significado que estos autores conecten sus obras con ese período de la primera y segunda infancia con la exploración del trauma nacional de la dictadura. Autores como Álvaro Bisama y Alejandro Zambra han explorado esto en sus obras, volviendo al pasado. En el caso de Bisama, también explora el pasado desde el terror en su obra Caja negra (2006). En estos textos híbridos el escritor imagina una serie de películas de horror y programas televisivos. Dentro de ellos, aparece uno con unos títeres terroríficos que recuerdan bastante a la estética de Bestia. Esta sintonía responde a la exploración del trauma para estos autores que tuvieron una conciencia lejana de la dictadura, pero que igualmente marcó sus vidas. Esa experiencia ha producido un sentido de preservación de la memoria histórica del trauma. Como ha declarado el mismo Covarrubias a Deutsche Welle: “mostrar la existencia de este tipo de personas es trascendente, sobre todo para los escépticos. Hay muchas personas que todavía no creen que las torturas ocurrieron en Chile. Entonces, cuando se hace un corto que narra una historia macabra y detrás hay una investigación completa, amparada por un libro que relata en detalle los horrores del personaje, más de alguno termina por convencerse».

De este modo, Bestia es parte de un corpus de obras que hacen el trabajo de memoria y traen de vuelta o presentan por primera vez, a las generaciones más jóvenes, estas historias que son fuertes, pero necesarias. Ya sabemos lo que ocurre con sociedades sin memoria ni justicia como Brasil o España. Por eso, es necesario no solo ver el corto, disponible en Vimeo (https://vimeo.com/ondemand/bestia), sino leer el libro de Nancy Guzmán:Ingrid Olderöck: la mujer de los perros (2014), quien le hizo una serie de entrevistas a esta excarabinero y agente de la DINA que nunca fue llevada a la justicia por sus crímenes y que murió en 2001 en total impunidad. Como sociedad, este es nuestro trabajo de memoria: recordar, no dejar que el olvido perpetúe la impunidad. Para quienes se preguntan, ¿para qué desenterrar el pasado?, la respuesta es simple: para que las generaciones futuras no cometan los mismos errores, para que nunca más en Chile tengamos una dictadura. La inestabilidad de la democracia brasileña está en directa relación con no haber llevado a juicio ni a militares ni a torturadores. Los fantasmas recurrentes de la Guerra Civil Española y la dictadura de Franco están también en relación con el “pacto del olvido” español que también significó nula justicia. Eso es lo que hay que evitar en Chile y por eso una obra como Bestia es tan necesaria e importante, gane o no el Óscar.
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