MOVIES AT LA PLAZA: “TRAINSPOTTING”—THIRTY YEARS LATER

Movie Review by Sergio Martinez

This film, directed by Danny Boyle and based on a novel by Irvine Welsh, premiered in 1996. Thirty years later, it returns to the big screen, perhaps so that a new generation can be impacted, as the original generation was, by its frank and harsh portrayal of the subculture of drug addicts and marginalized people in late 1980s Scotland, under the effects of Thatcher's economic adjustments.

The story is narrated by Mark Renton (Ewan McGregor), a drug addict who lives with his parents and frequents three other friends with whom he shares his addiction and moments of relaxation, usually in a pub, and also occasionally earns money through robberies and other petty crimes. The film very effectively portrays the underworld of drugs and marginalization: the poverty of the neighbourhoods where the protagonists live, the very basic diet they consume—junk food from seedy establishments—and, especially, the humble apartment shared by Sick Boy (Johnny Lee Miller) and Allison (Susan Vidler) with their baby, Dawn. Amidst poverty and neglect, tragedy will strike Allison hard, but she won't abandon drugs.

Of the four friends—if you can call their relationship that—Spud (Ewen Bremner) seems to be the least bright, and it's no surprise that when a robbery attempt fails, he's arrested along with Renton, but he's the only one who goes to prison. Meanwhile, their heroin injections, made without proper precautions when using shared syringes, lead to tragedy once again befalling the group, this time affecting Tommy (Kevin McKidd), who contracts HIV.

Sex is also a part of these young men's lives, although it backfires on Renton: after sleeping with a girl he meets at a pub, he realizes that Diane (Kelly Macdonald) is actually underage and now pressures him to continue the relationship; otherwise, she'll report him to the police.

Renton eventually ends up in his parents' custody after an overdose. During this period of forced abstinence, he will endure several episodes of hallucinations. It is in the seclusion of his bedroom that he experiences the only instance of "watching trains"—specifically, the trains depicted on the wallpaper in his room. (There is only one other instance where the young men are walking along the tracks and see a train.)

However, when it comes to money, opportunity finally seems to smile when, at the urging of Begbie (Robert Carlyle), a sinister and highly violent psychopath who occasionally preys on the young people, a lucrative heroin deal is made with an unexpected outcome. The episode will give Renton a new opportunity, and he, incidentally, won't forget his friend Spud.

Thirty years later, Trainspotting retains all its thematic freshness and its ability to shock and, at times, move the audience. A portrait of the drug underworld, more relevant than ever. We recommend it, although we warn that it contains some intense scenes.

Running time: 92 min.

CINE EN LA PLAZA: “TRAINSPOTTING”—30 AÑOS DESPUÉS

Comentario de Sergio Martínez

Este film, dirigido por Danny Boyle y basado en una novela de Irvine Welsh, se estrenó en 1996.  Treinta años más tarde, vuelve a la gran pantalla, quizás para que una nueva generación sea impactada, como lo fue la de entonces, por el franco y duro retrato que hizo de la subcultura de drogadictos y marginales en una Escocia de fines de los 80, bajo los efectos de los ajustes económicos del thatcherismo.

La historia es narrada por Mark Renton (Ewan McGregor), un drogadicto que vive con sus padres y frecuenta a otros tres amigos con quienes comparte su adicción y momentos de solaz, generalmente en alguna taberna, y además gana ocasionalmente dinero mediante asaltos y otros delitos menores.

La película retrata de manera muy efectiva ese submundo de la droga y la marginalidad: la pobreza de los barrios en los que se desenvuelven los protagonistas, la muy básica alimentación que consumen, comida chatarra en negocios de mala muerte y, especialmente, el humilde piso que comparten Sick Boy (Johnny Lee Miller) y Allison (Susan Vidler) junto a su bebé, Dawn.  En medio de la pobreza y la negligencia, la tragedia golpeará duro a Allison, pero no por ello dejará la droga.

De los cuatro amigos, si se puede llamar así a su relación, Spud (Ewen Bremner) parece ser el menos avispado, y no es de sorprender que, cuando un intento de robo falla, sea detenido junto a Renton, pero es el único que irá a prisión. Por otra parte, las inyecciones de heroína, sin el debido cuidado al usar jeringas compartidas, llevarán a que la tragedia se cierna nuevamente sobre el grupo, esta vez afectando a Tommy (Kevin McKidd), quien contraerá VIH.

El sexo también es un elemento en la vida de estos jóvenes, aunque en una ocasión le juegue una mala pasada a Renton: luego de acostarse con una muchacha a la que conoce en un pub, se da cuenta de que Diane (Kelly Macdonald) en verdad es menor de edad y ahora lo presionará para continuar la relación; si no, lo denunciará ante la policía.

Renton queda, eventualmente, “bajo custodia” en casa de sus padres tras un episodio de sobredosis. En ese momento de forzada abstención él sobrellevará diversos episodios de alucinaciones. En la reclusión de su dormitorio es cuando se da el único momento de “mirar trenes”—se trata de los que adornan el papel mural de la habitación. (Sólo hay otro momento en el que los jóvenes circulan por la vía y ven un tren).

Sin embargo, en materia de dinero, la oportunidad parece sonreír finalmente cuando, a instancias de Begbie (Robert Carlyle), un siniestro y muy violento psicópata que ocasionalmente frecuenta a los jóvenes, se concreta una lucrativa venta de heroína con un desenlace inesperado. El episodio dará una nueva oportunidad a Renton, quien, de paso, no olvidará a su amigo Spud.

Treinta años más tarde, Trainspotting mantiene toda su frescura temática, así como esa capacidad de choquear y, a veces, de conmover a la audiencia. Un retrato del submundo de la drogadicción, más relevante que nunca. La recomendamos, aunque advertimos que contiene algunas escenas fuertes.

Duración: 92 min.

MOVIES AT LA PLAZA: KAIROS-- Philosophy on the Air

Movie Review by Sergio Martinez

This Canadian film, directed by Jennifer Alleyn, offers an intriguing take on the subject in a minimalist style while tapping into the deep-seated roots of many of our anxieties, fears, and unfulfilled dreams. Set in Montreal, where we can recognize iconic landmarks such as the curved building at the corner of Sherbrooke and Jeanne-Mance, it introduces us to Manu (Emmanuel Schwartz), an actor with unfulfilled aspirations who, for lack of other opportunities, accepts a job as the host of a late-night radio show. This comes after other failed attempts, including the dubbing of a Polish film.

Manu begins by explaining to his audience the reason behind the show’s name: “Kairos,” a figure from Greek mythology representing a very special conception of time, distinct from the linear time represented by the god Cronos. At first, the show doesn’t seem to have much of an audience, even though he’s told that there are always people listening at those odd hours: taxi drivers, security guards, or just insomniacs. Eventually, calls from listeners begin to come in, and with them, the opportunity for Manu to engage in conversations ranging from the topic of suicide—focused on Albert Camus’s The Myth of Sisyphus (“what matters is the process, not the result,” the radio host will say)—to more mundane situations.

This journey through the various realms of philosophy will not be limited to exchanges with listeners, but will also involve Kiki (Olivia Palacci), the person in charge of technical operations during the program, who, at first, does not seem the friendliest person one could meet.

Kairos is a film that transports us into the intimate world of a man who, facing his own existential crisis, decides to share his loneliness with other solitary souls. On a winter night in Montreal—beautifully captured in Marc Simpson-Threlford’s cinematography—he delves with them into a series of philosophical questions that, in truth, can touch everyone. This film was originally made in French and is shown in some theatres with English subtitles. We strongly recommend it.

Runtime: 90 min.