De Blow Up a la Jetée: fotografías de un pasado por revelar en Uncle Boonmee who can recall his past lives

Abstract

En Uncle Boonmee Who Can Recall His Past Lives hay dos secuencias capitales donde las, fotografías, recuerdan los vapores de la Historia y proyectan su avenir: Las fotos del hijo, Boongsong; y las fotos del padre, Boonmee. Entre las fotografías de ambas secuencias, los ecos de la, Historia, de Nabua (el pueblo donde el Estado Tailandés masacró en 1976 a los campesinos que protestaron contra el retorno de la dictadura; el pueblo que fue ocupado entre 1960 y 1980 por ese Estado, para exterminar los focos de insurgentes comunistas) palpitan su pasado, y su futuro, sobre la historia del film. Entre las fotos del hijo (algo desatendido del pasado: Blow Up), y las fotos del padre (algo desesperado del avenir: La Jetée), hay un puente, proustiano, posible: las huellas de la Historia han quedado impresas sobre las historias de esas extrañas fotos de familia.

In Uncle Boonmee Who Can Recall His Past Lives we found two main sequences where the photographs [keyword] remembering the mists of his own History [keyword] and project their own future: The son’s photos, Boongsong; and the father’s pictures, Boonmee. Between these pictures, the reflects of the Nabua’s History (the village where Thai military government, killed the farm people who protested against the dictators returns. This village was occupied between 1960 and 1980 by the dictator’s army in order to exterminate the communist resistance formed by the villagers) beat his own past and future, overlapped in the film’s story. Between the son’s picture (something unexpected from the past: Blow Up), and the father’s Pictures (something unattended from the future: La Jetée), there is a possible proustian [keyword] bridge: the footprints of the History where impressed over the stories of these strange family pictures.