“Los domingos”: jainkoaz, baina, batez ere, gizakiaz
Alauda Ruiz de Azuak idatzi eta zuzendu duen bigarren film luzea aurkeztu du Zinemaldiko Sail Ofizialean. “Los domingos” gure garaien erradiografia oso askoa da, 17 urteko neskato batek moja bizitzarekin duen liluraren gainean eraikia.
"Igandetan". Argazkia: David Herranz.
Oso zinemagile gutxik daukate Alauda Ruiz de Azuarenaren (Barakaldo, 1978) tamainako gaitasuna bizi duten garai eta tokiko tentsioak jaso, ikusleoi begi bistan jarri eta gu berorien inguruan hausnartzera xaxatzeko. Ahalmen hori agerian gelditu zen Cinco lobitos lan sarituan eta are argiago Querer seriean, senarrari bortxaketa jarraitua egozten zion emakume baten (Nagore Aranburu) istorio indartsuan. Oraingoan, barakaldar zuzendariak berriz ere asmatu du erdiz erdi EITBren parte hartzea duen eta Zinemaldiaren Sail Ofizialean estreinatu den pelikulan.
Los domingos, igandeak, gehiago dira hemen gatazkak leherrarazten dituzten eta isiltasunak inposatzen dituzten familia bazkarietarako egunak, meztarakoak baino. Ainara 17 urteko neskato dirdiratsu eta arduratsua da (Blanca Soroa zoragarri dago bere lehen lanean, eta palmaresean sartzeko apustuetan bere izena entzuten da dagoeneko), eta unibertsitatean zer ikasiko duen aukeratzeko garaian dago. Hala ere, eskola katoliko baten ikasten ari den gazteak Jainkoarengandik gero eta gertuago dagoela adieraziko du, ustekabean, eta klausurako moja izatea aztertzen ari dela.
Zuzendu duen hirugarren film luzean (Cinco lobitos, Eres tú eta Los domingos), Ruiz de Azuak informazio baliotsuz kargatzen ditu plano oro eta, batez ere, elkarrizketa zorrotz eta tenkatuak, eta hainbat dilema proposatzen dizkio ikusleari; fedeari buruzkoak bai, noski, baina, horretaz haraindi, baita ezezagunari aurre egiteko dugun moduari buruzkoak, besteen erabakien aurreko gure tolerantziari edo tolerantziarik ezari buruzkoak, geldotasunari buruzkoak, bizitzaren eta gizartearen inertziak bihurtzeko ahalmenari buruzkoak eta hertsapenari eta erabakimenaren arteko mugari buruzkoak.
Soroaren interpretazio harrigarriarekin batera, bi balore segururen lana nabarmentzen da filmean, Patricia Lopez Arnaizena Ainara izekoaren larruan eta Nagore Aranbururena Isabel ama priorearena egiten. Halaber, tonuari dagokionez, kostunbrismo eta naturalismo oso transzendente baten bidetik jo du Ruiz de Azuak, eta umorea, umore garratza tarteka, erruz azaleratzen da istorio osoan zehar.
Ruiz de Azuak detaile osoz marrazten ditu pertsonaiak eta beraien zirkunstantziak, baina publikoari ematen dio une oro azken hitza, istorioan zehar bultzakadarik gabe gidatzen, azpimarra lodiegirik gabe eta ikuslearen adimena elikatuz zein errespetatuz. Jarrera bera erakusten du, horrez gain, pertsonaiekin: azaldu egiten ditu, deabrutu eta santutu barik.
Apustua biribiltzeko, “Aitormena”ren eta “Into my arms” Nick Cave & The Bad Seedsen kantuaren doinuan gertatzen da hori guztia. Adi palmeresean sartzeko aukera baitu, jainkoa lagun.
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