(Chile 2012 76m) Centro Arte Alameda
p/d/w/ed Isis Kraushaar, Cristóbal Vargas c Carlos Montero, Cristóbal Vargas s Matías Opazo, Iuan Jadresic, Creobal, Isis Kraushaar
a Isis Kraushaar, Max Goldberg, Luis Allende, Paulina Stay, Carolina Paulsen, Hija de Perra
by Jaime Grijalba and Gabriela Valencia
‘Hembra’ (2012) is a campaign in favour of representing the post-modern subject in plain growth of its own madness, a failed attempt, its protagonist walks screaming down the streets of the city of Santiago as a hyper-sensible vagrant that announces the end of the world would. The female protagonist (Hembra means Female), tries to make her own poetry travel between the mass of the people (which would seem understandable for a sewer poet) it’s nothing more than a series of visually poor images, charged with muffled and ininteligible screams and concern-worthy icons. They don’t achieve anything else than constituting a portrait of society that an angsty teenager that hates television and throws them out of his window (an actual scene that happens in the movie) while listening to the moody tunes of the irritating (for me) Radiohead.
It’s clear when you try to think of the reasoning and the origins of this film, it clearly comes from the world of theater and drama and acting, if anything else, but what does the world of film has that it attracts so many people from that particular world for them to simply dwelve in, most of them without any experience or knowledge of the differences between the two media, trying to achieve the same experience that they had with similar themes, as if they thought that they’d work the same due to their similarities, while that is completely wrong, especially when you think about the people and audience who attend to these two kind of events. There’s no way around it, this was a misconcieved film, birthed out of the wish of some people (or maybe one) to flesh out a film around Isis Kraushaar’s poetry and live street theater acts, and that isn’t enough for a film to exist, and when you top all of that with imagery that isn’t attractive in the slightest, we have one of the best examples of the artsy fartsy stuff that some directors try to make to achieve some kind of accolade, only to receive the hate because of the overused clichés presented here.
For some reason, the movie actually turns good whenever it switches to a black and white cinematography, but it happens so few times and so far apart from each other that it’s just a waste. The images there resemble something akin to Tarkovsky and Malick, beautiful grassy landscapes and beautiful bodies of women, but that doesn’t achieve or amount to anything remotely interesting when compared to the raw color footage that tries to hammer in its ideas of pseudo-femenism that tries too hard to talk about how a woman has the rights over its own body, only to then finish the movie in one of the most classic and disgusting arguments that the conservative folk have to ban abortions and anything that would interrupt the pregnancy of a woman, and that for me is completely utterly disgusting, after one hour of messages of how the woman’s life would be ruined by a child (and that its only true child is poetry and her art and the things that she does), seeing those sequences constructed with one of the worst dialogue ever written (‘I can’t live, you’ll teach me to live, I’ll live for you’).
Just as its protagonist, ‘Hembra’ (2012) yells: ‘I don’t know how to live’. It’s recommendable for people with an extreme case of enthusiasm over the concept and perspective presented here, enthusiasm for doing new stuff without knowing how to do them and only because of doing them, just like the filmmakers of this movie.