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SECRETOS Y MENTIRAS Hortense, joven negra de 27 años, pierde a su madre adoptiva, y decide buscar a su verdadera madre. Descubre lo que menos se espera: su madre biológica se llama Cynthia, es una mujer blanca, y tiene otros dos hijos, Roxanne y Maurice, ambos menores que Hortense. Al primer contacto, Cynthia se siente amedrentada con la situación -- hasta llega a manifestar serias dudas sobre su lazo maternal con Hortense. Pero al encontrarse, pocos minutos después de comenzar a charlar, las mujeres se sienten a sus anchas, y rápidamente se desarrolla entre ellas una relación de afecto y confianza, a pesar del enorme vacío entre sus respectivos mundos. Cynthia invita a Hortense a una fiesta familiar. Ahora sólo resta que Cynthia le cuente a Roxanne y a Maurice sobre la verdadera identidad de Hortense. Mike Leigh, el director del proletariado inglés, es menos político pero más humano que su compañero Ken Loach. Trabaja sin guión, desarrollando su idea en largo trecho de ensayos y trabajo con los actores. El resultado es un enfoque tan naturalista y al mismo tiempo absurdo que parece la vida misma y no el cine. En el cine de Leigh, la técnica no es importante, sino los seres humanos y las historias que retrata. En cuanto a sus actores, lo que logra que rindan es sublime. Secretos y mentiras puede ser la película que finalmente haga la obra de Leigh accesible al público internacional. Es una obra maestra. |
SECRETS AND LIES Hortense, a young black woman of 27, after the death of her adoptive mother, goes about searching for her natural mother. She finds what she could least expect: her biological mother is called Cynthia, she is a white woman and has two other children, Roxanne and Maurice, both younger than Hortense. At the first contact, Cynthia feels overwhelmed by the situation -- she refuses to accept this new motherhood, until she recollects her one black lover in her teens. But when the two women meet and start talking, they feel totally at ease, and quickly develop bonds of affection and trust, notwithstanding the enormous void between their worlds. Cynthia invites Hortense to a family party. Now all that Cynthia has to do is tell Roxanne and her brother Maurice about the true identity of Hortense. Mike Leigh, the film director of the English proletariat, is less political but more humane than his colleague Ken Loach. He works without a screenplay, developing his ideas on a storyline through an exhaustive series of rehearsals and endless work with his actors. The result is an approach so naturalistic and at the same time absurd, that it resembles life itself more than it does the movies. In Leigh's films, technique is far less important than the human beings and the stories he portrays and projects. As to the actors in his movies, the performances he extracts from them border on the sublime. Secrets and Lies may be the film that finally makes Leigh's work accessible to an international public. This is a work of art. |
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Mike Leigh Desde su primer largometraje, Bleak Moments (1971), fue premiado en Chicago y Locarno. Sus obra incluye los largometrajes High Hopes (88), Life Is Sweet (91) y Naked (93), premio a la mejor dirección en Cannes, y el cortometraje A Sense of History (92). También ha dirigido para televisión y teatro. |
Mike Leigh From his first feature, Bleak Moments (1971), he received awards in Chicago and Locarno. His work comprises the features High Hopes (88), Life Is Sweet (91) and Naked (93), Best Director Award in Cannes, and the short A Sense of History (92). Has also directed for television and theater. |
Director: Mike Leigh |