2023-09-23 07:16:11
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1On the one hand we have half a thousand intellectuals, victims of terrorism and free citizens in general who, without seeing the film, believe that Jordi Évole’s interview with José Antonio Urrutikoetxea collected in ‘Don’t call me Ternera’ whitewashes ETA. And on the other hand, we have the Zinemaldia selection committee, politicians from an ideological arc that goes from EH Bildu to the PP, other victims of terrorism, a group of viewers who have seen the film, in addition to the people themselves. Évole and Urrutikoetxea, who consider that it in no way ‘whitewashes’ ETA. With these rustic wickers, not only has an absurd controversy been sparked, but it has also been kept alive for three weeks.
2Yesterday the film was finally released and at least each ticket holder for the session was now able to form their own opinion. Until that moment and predictably also afterwards, the evaluations that the film has received have been plural, but within a unanimous consensus: ETA does not come out well. After the manifesto of the 514, the time came for other recriminations, via Sortu and via the interviewee himself, for not showing the violence of the State. But this is a curious interpretation, taking into account that right at the beginning the word “tortures” appears and that the interviewee recounts in detail the attempted murder with a car bomb that he suffered in 1975 at the hands of the Spanish Basque Battalion and that resulted in injuries to his newborn daughter. Urrutikoetxea, a contumacious perpetrator by his own choice, was also the target of an unsolved murder attempt, whatever that turns into.
3Here everything changes very quickly, everyone sees what they want and who knows if in one of these script twists with which Reality tames us, it turns out that by the time Netflix releases the documentary on December 15, it will already do so under the legend advertising for «’Don’t call me Ternera, the documentary that Ternera doesn’t want you to see». The tape is hard; The controversy has been sad. It is advisable to remember the first and forget the second.
4The Perlak section opened with ‘The Zone of Interest’, based on a novel by Martin Amis that, when it was published, was considered somewhere between immoral and in terrible taste. So much so that the French and German publishers that usually published Amis’s work refused to do so, citing “literary reasons.” In Spain, on the contrary, Anagrama released the book and thus added another title by the British author to its catalogue, without major surprises and amidst general indifference.
5In every prosperous company, at least the manager lives very well, so if the firm decides to transfer him to another factory, family tensions can arise. ‘The area of interest’ focuses on the Auschwitz commander and his family, who splash, play and renew their wardrobe happily in their villa adjacent to the camp. When the shooting of Jews proved unproductive from an economic and human point of view, National Socialism created industrial extermination centers to manufacture dead men from living men as raw material, and under the same premises as any other factory. : maximum profitability of the investment, minimum staff and professional recognition of its managers. Under these conditions, the commander’s wife refuses to dismantle her home to move: “Auschwitz is everything we had dreamed of.” Fascinating.
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#Alberto #Moyano #Zinemaldia #row #onearmed #Black #white #whitewashing