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Publicado en diciembre 2014 |

56

El arduo camino de la vagina

En el más reciente filme del director Lars Von Trier, la mujer utiliza el sexo como una herramienta para conocer el mundo, sus luces y tinieblas.

Por Solange Rodríguez Pappe

Quienes éramos jóvenes en  la década del noventa seguramente recordamos el diálogo entre los personajes de  Charles (Hugh Grant) y Carrie (Andie MacDowell) en Cuatro bodas y un funeral (1914), en el que la protagonista enumera para su interés romántico quiénes han sido sus compañeros  sexuales, y la cuenta le llega hasta el número 33. Ni mucho ni poco, pero definidamente, “jamás debería tratarse de un solo hombre”, sentencia Carrie. Al igual que al sorprendido pretendiente, a más de un espectador recatado de la época, la cifra también debió parecerle escandalosa  e inevitablemente debió  preguntarse: ¿cuántos amantes tiene realmente la mujer promedio?

Una estadística informal, realizada en un sitio Web femenino —no se trata de una de esas investigaciones sociológicas extrañas patrocinadas por una universidad inglesa, ni nada de eso— anunciaba que la cantidad  de parejas  sexuales que tiene una mujer común y corriente va de seis a 20 amantes a lo largo de toda su vida. Y entre ambas escalas estaban los extremos de dos minorías particulares: las que decían que sólo habían tenido sexo con el amor de su vida y las que ya no recordaban la cantidad de hombres con los que habían copulado. ¿Realidad o ficción? Estas encuestas eran anónimas y voluntarias, por lo tanto, ¿qué razón tendrían estas mujeres para mentir acerca de  sus encuentros? ¿Son acaso las mujeres más promiscuas de lo que los cánones sociales desean reconocer?

De entre las que fueron iniciadas solamente por el  cónyuge en el lecho nupcial y aquellas que llevan anotados los nombres de sus romances en una libreta para irlos recordando –una conocida pintaba también las banderas de sus países y  puntuaba su desempeño con estrellas amarillas– hay una brecha considerable; pero más aún, existe la construcción de una historia femenina que se cuenta utilizando el sexo como una herramienta para conocer el mundo, sus luces y tinieblas. De esto trata justamente la última película de Lars Von Trier, Nymphomaniac (2013), estrenada el año pasado en Cannes y cuya llegada a Latinoamérica probablemente no ocurrirá con fuerza pero está disponible para verse en varios sitios de Internet de entre los cuales http://www.cultmoviez.info/, es una muy buena  posibilidad.

Viaje a lo profundo del útero

Hablar de Lars Von Trier, su iconoclastia, subversión y deseo de incomodar a los receptores desde sus pinitos como mentalizador de una de las últimas vanguardias del cine, el polémico grupo Dogma 95, es llover sobre mojado. Blasfemo y truculento pero con una narrativa que sorprende con sus impiadosos giros de tuerca, sus historias están pensadas con la impecable  construcción de un hábil ingeniero de misiles, de cañones, de instrumentos diseñados para no dejar un solo cuerpo en pie. Hay quienes argumentan que sus últimos  productos como Anticristo (2009) y Melancolía (2011)  son pretenciosos e intelectuales, a más de repetir demasiado la fórmula de  cohesión de fragmentos narrativos temáticos que siempre lo ha singularizado, pero esta película  no puede ser presenciada sin que su honestidad con respeto a la vulnerabilidad y el poder que da el sexo a las mujeres consterne y cuestione.

La cinta está armada a base de dos volúmenes de aproximadamente hora y media de duración. La primera parte de Nymphomaniac trata de la maduración y el adultecer sexual de Joe (Charlotte Gainsbourg) y toma como punto culminante su encuentro con quien cree es su amor verdadero, Jerome (Shia LaBeouf). Para una mujer que ha empleado su sexo como un puente de conocimiento más bien antropológico, el dar con el amor del displicente Jerome que la caotiza e ilumina significa hacerse cargo de todos los estereotipos acerca del erotismo y el romance que para las mujeres viene junto con el de establecerse con una pareja estable. Lars Von Trier, en esta primera parte del filme, relata una  historia de amor desde la voz de una mujer a la que, citando a Ariadna Gil  en el corto El columpio, le es muy duro ser romántica y ninfómana a la vez.

Pero las mieles de la juventud duran poco. La segunda parte de Nymphomaniac es un camino tortuoso a lo profundo del útero de Joe, su maternidad, la pérdida de su orgasmo esencial y todo lo que está dispuesta a hacer  para asumirse a sí misma como una mujer a quien solamente el sexo puede  darle todo lo que necesita. Molesta el tono de moralina final de Lars Von Trier, un tufillo  que ha venido hediendo a lo largo de toda la película y que se metaforiza en el golpeado cuerpo de Joe (harto de follar sin rumbo deja de desear y se torna un fardo doloroso), desesperado por volver de su historia una lección de la que otros deben aprender y donde no hay ninguna posibilidad de piedad o redención porque se lo ha metido todo entre las piernas.

Sinfonía polifónica  de un solo amante

En uno de los bloques narrativos de la película,  Joe sintetiza su vida erótica para su nuevo amigo, Seligman, a partir de la definición tradicional de lo que es una ninfómana, una mujer a quien todos los hombres no le bastan para sentirse llena, pero ella afirma que completa o no, todo los hombres pueden resumirse solamente en tres tipos: los que complacen, lo que someten y a los que una ama, y así esta polifónica de falos, pieles y jadeos, suenan como un solo hombre completo que resume la vida erótica de cualquier mujer, hasta que esta llega al límite de la hartura y decide no abrir más las piernas para nadie. Si todos los hombres son entonces el mismo hombre, ¿para qué seguir follando?

La historia de O, Emmanuelle, Las edades de Lulú, Las 50 sombras de Grey (que aún no se estrenará hasta febrero de 2015  pero que ya todo el mundo sabe de qué va) son relatos donde también una mujer realiza un recorrido de formación sexual, pero la diferencia está en que las protagonistas de los filmes citados, han sido seducidas y llevadas por una segura mano masculina usualmente viciosa y perversa. Ya en medio del paroxismo orgiástico ellas se relajan y gozan, pero hay que tener presente que este camino de aprendizaje viene trazado en nuestra cultura, usualmente por los hombres.  Joe, suicida e inmolada en su propia ley de goce, no necesita de un padre, de un amante, de un amigo, de un hijo que le indique por dónde va el rumbo de su cuerpo. Ella sabe extraviarse  muy bien sola.



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