{"id":1406,"date":"2020-11-10T21:24:49","date_gmt":"2020-11-10T21:24:49","guid":{"rendered":"http:\/\/taipeirevista.com\/?p=1406"},"modified":"2022-10-21T13:59:15","modified_gmt":"2022-10-21T13:59:15","slug":"el-corrimiento-apuntes-sobre-all-the-ships-at-sea-de-dan-sallitt","status":"publish","type":"post","link":"https:\/\/taipeirevista.com\/index.php\/2020\/11\/10\/el-corrimiento-apuntes-sobre-all-the-ships-at-sea-de-dan-sallitt\/","title":{"rendered":"El corrimiento. Notas sobre &#8220;All the Ships at Sea&#8221;, de Dan Sallitt"},"content":{"rendered":"\n<p>En <em>All the Ships at Sea <\/em>(2004), el tercer largometraje de Dan Sallitt como director, dos hermanas se van unos d\u00edas a la casa de campo de su familia. Adem\u00e1s de la casa, las dos hermanas comparten una infancia infeliz y un posterior acercamiento a la vida religiosa, pero desde diferentes lados: la mayor es una mujer cat\u00f3lica en el oto\u00f1o de su vida, mientras que su hermana menor tiene alrededor de treinta a\u00f1os y est\u00e1 metida en una secta religiosa de la que fue desafectada recientemente, acontecimiento que hace peligrar su salud mental. En esa distancia entre dos creencias, posiciones e instancias vitales juega la pel\u00edcula, a trav\u00e9s de una serie de conversaciones.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img fetchpriority=\"high\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m02s149.png\" alt=\"\" data-id=\"1408\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m02s149.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1408\" class=\"wp-image-1408\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m02s149.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m02s149-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m02s149-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m14s417-1.png\" alt=\"\" data-id=\"1409\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m14s417-1.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1409\" class=\"wp-image-1409\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m14s417-1.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m14s417-1-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h05m14s417-1-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>\u00bfC\u00f3mo est\u00e1n filmadas las charlas entre estas dos hermanas? \u00bfC\u00f3mo se filman los choques entre dos posiciones espirituales que, a priori, parecen irreconciliables? \u00bfC\u00f3mo filmar, mientras dos personajes mantienen una conversaci\u00f3n, la imposibilidad de comunicarse?<\/p>\n\n\n\n<p>Sallitt elige el corrimiento. En la puesta en escena, pareciera existir una b\u00fasqueda muy precisa de emplear recursos que podr\u00edamos identificar, en general, como errores. Estos h\u00e1bitos son los habituales en los cortometrajes de estudiantes de cine: problemas de eje<a href=\"#nota1\"><sup>(1)<\/sup><\/a>, tensiones compositivas f\u00e1cilmente evitables y <em>aires<\/em> invertidos, entre otros \u201cdesaciertos\u201d.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m02s349.png\" alt=\"\" data-id=\"1411\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m02s349.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1411\" class=\"wp-image-1411\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m02s349.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m02s349-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m02s349-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m12s748.png\" alt=\"\" data-id=\"1412\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m12s748.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1412\" class=\"wp-image-1412\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m12s748.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m12s748-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h09m12s748-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>Durante toda la pel\u00edcula los personajes, cuando hablan, se est\u00e1n mirando \u2014una mira a derecha, otra mira a izquierda\u2014 hasta una escena en que la conexi\u00f3n entre ojos se rompe. Ahora, mientras los ojos de las dos hermanas apuntan hacia la derecha, conversan. Se rompe el eje, produciendo un peque\u00f1o efecto de desorientaci\u00f3n espacial y de desconexi\u00f3n entre ellas. Luego las miradas se ordenan; el eje vuelve a regir. Despu\u00e9s se vuelve a romper para, m\u00e1s adelante, volver a organizarse. A la hora de la composici\u00f3n, la c\u00e1mara arma los <em>aires<\/em> delante de los ojos de los personajes; luego, cuando le sirve, los arma detr\u00e1s de sus nucas, de manera que se construyen peque\u00f1as tensiones visuales, breves <em>vac\u00edos <\/em>expresivos. Sobre el final de la pel\u00edcula, la imagen se desenfoca hasta perder qu\u00e9 es lo que se est\u00e1 filmando, ofreciendo en el plano la textura de uno de los problemas t\u00e9cnicos elementales del arte cinematogr\u00e1fico: el foco, la nitidez de lo que se ve.&nbsp;<\/p>\n\n\n\n<p>Viene a cuento el tema de la pel\u00edcula: la desconexi\u00f3n entre personas que, a\u00fan compartiendo el seno familiar, no pueden comprenderse debido a la elecci\u00f3n de diferentes respuestas frente al desorden de la vida humana; posiciones que pueden ser religiones, ideolog\u00edas o, a lo sumo, tendencias vitales encontradas.<\/p>\n\n\n\n<p>Desde esta perspectiva, los peque\u00f1os problemas de puesta de la pel\u00edcula, que dentro de cualquier manual cinematogr\u00e1fico ser\u00edan considerados atrocidades, no parecen errores. No se trata de decisiones descolocadas que van en contra de lo que se est\u00e1 contando. Son a favor, y sacan a la c\u00e1mara de esa pasividad contemplativa corriente en el cine contempor\u00e1neo; la ponen a jugar narrativamente a partir de trastocar algunos de los elementos fundamentales de la t\u00e9cnica cinematogr\u00e1fica: el <em>raccord<\/em>, el eje, la composici\u00f3n y el foco, entre otras. En el <em>offside<\/em> de la puesta en escena, la c\u00e1mara se hace cargo de las preocupaciones tem\u00e1ticas de la pel\u00edcula, gracias a que se desmarca con soltura de las leyes de continuidad visual que rigen en gran parte de la producci\u00f3n cinematogr\u00e1fica.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h06m51s327.png\" alt=\"\" data-id=\"1410\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h06m51s327.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1410\" class=\"wp-image-1410\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h06m51s327.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h06m51s327-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h06m51s327-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h07m02s059.png\" alt=\"\" data-id=\"1413\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h07m02s059.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1413\" class=\"wp-image-1413\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h07m02s059.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h07m02s059-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h07m02s059-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>Pero, si bien toma estas decisiones, Sallitt no se aleja demasiado de una puesta que funciona alrededor de ciertos par\u00e1metros tradicionales; es decir: el eje s\u00ed importa en gran parte de la pel\u00edcula, en tanto permite que las miradas se encuentren. Por momentos, sin embargo, la c\u00e1mara hace otra cosa. En un mundo de personajes que no tienen respuestas, o que creen tenerlas pero siguen buscando, se elige una puesta que coquetea con los usos y costumbres de una planificaci\u00f3n tradicional, pero que no tiene problemas en desviarse cuando as\u00ed lo dispone el drama.\u00a0<\/p>\n\n\n\n<p>En<em> All the Ships at Sea<\/em>,&nbsp; la c\u00e1mara de Sallitt permanece atenta para correrse un poco cuando \u00e9sa parece una buena propuesta de juego. Si puede funcionar, este sofisticado realizador norteamericano est\u00e1 dispuesto a hacerse pasar por un estudiante en pleno descubrimiento de los n\u00facleos duros del cine. Y esa exposici\u00f3n, incertidumbre y buena voluntad se agradecen mucho.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-4 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m40s396.png\" alt=\"\" data-id=\"1414\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m40s396.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1414\" class=\"wp-image-1414\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m40s396.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m40s396-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m40s396-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m58s439.png\" alt=\"\" data-id=\"1415\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m58s439.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1415\" class=\"wp-image-1415\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m58s439.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m58s439-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h12m58s439-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m13s762.png\" alt=\"\" data-id=\"1416\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m13s762.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1416\" class=\"wp-image-1416\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m13s762.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m13s762-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m13s762-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"480\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m24s970.png\" alt=\"\" data-id=\"1417\" data-full-url=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m24s970.png\" data-link=\"https:\/\/taipeirevista.com\/?attachment_id=1417\" class=\"wp-image-1417\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m24s970.png 853w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m24s970-300x169.png 300w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2020\/11\/vlcsnap-2020-10-27-18h13m24s970-768x432.png 768w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p class=\"has-small-font-size\"><strong>Notas:<\/strong><\/p>\n\n\n\n<p class=\"has-small-font-size\" id=\"nota1\"><sup><strong>1<\/strong><\/sup> Para conocer la <em>ley del eje<\/em>: <a href=\"https:\/\/www.tallerdeescritores.com\/el-eje-de-accion\">https:\/\/www.tallerdeescritores.com\/el-eje-de-accion<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00bfC\u00f3mo est\u00e1n filmadas las charlas entre estas dos hermanas? \u00bfC\u00f3mo se filman los choques entre dos posiciones espirituales que, a priori, parecen irreconciliables? \u00bfC\u00f3mo filmar, mientras dos personajes mantienen una conversaci\u00f3n, la imposibilidad de comunicarse?(&#8230;)<\/p>\n","protected":false},"author":2,"featured_media":1412,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5],"tags":[136,977,73,29,79],"class_list":{"0":"post-1406","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arrebatos","8":"tag-2000s","9":"tag-atelier","10":"tag-dan-sallitt","11":"tag-estados-unidos","12":"tag-puesta-en-escena"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>El corrimiento. Notas sobre &quot;All the Ships at Sea&quot;, de Dan Sallitt - TAIPEI<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/taipeirevista.com\/index.php\/2020\/11\/10\/el-corrimiento-apuntes-sobre-all-the-ships-at-sea-de-dan-sallitt\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El corrimiento. 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