{"id":3243,"date":"2017-10-01T11:06:49","date_gmt":"2017-10-01T09:06:49","guid":{"rendered":"http:\/\/www.argia.eus\/blogak\/mikel-garcia\/?p=3243"},"modified":"2017-10-01T11:06:49","modified_gmt":"2017-10-01T09:06:49","slug":"publikoaren-saria-barretik-negarrera","status":"publish","type":"post","link":"https:\/\/blogak.argia.eus\/mikel-garcia\/2017\/10\/01\/publikoaren-saria-barretik-negarrera\/","title":{"rendered":"Publikoaren Saria \/ Barretik negarrera"},"content":{"rendered":"<p>Jendeak barre egin nahi du, eta negar; sentitu, emozionatu. Beharbada horregatik irabazi du tragikomedia batek Publikoaren Saria. Tragikotik eta komedia beltzetik baduelako <em>Three billboards outside Ebbing, Missouri<\/em> dibertigarri bezain latzak. Barretik negarrera eta negarretik barrera trantsizioa natural egiteko, ongi harilkaturiko istorioa eta gidoi irmoa beharrezkoak dira, eta horiexek ditu oinarri Martin McDonagh-ek zuzendu eta idatzitako filmak. Iluna da <em>Three billboards<\/em>, sarkastikoa, zinikoa, ahobilorik gabe poliziaren torturez, arrazismoaz, minbiziaz edota Elizaren pederastiaz hitz egiteko gai; AEBrik ankerrena irudikatu du zuzendariak. Sakonean, mezu garbia, gorrotoak gorroto gehiago dakarrela, eta aurpegia ematen, Frances McDormand aktorea, ohi bezain fin, alabaren hiltzailea aurkitu arte amore emateko asmorik ez duen emakume indartsuaren rolean.<a href=\"https:\/\/blogak.argia.eus\/mikel-garcia\/wp-content\/uploads\/sites\/23\/2017\/10\/three-billboards.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-3244\" src=\"https:\/\/blogak.argia.eus\/mikel-garcia\/wp-content\/uploads\/sites\/23\/2017\/10\/three-billboards.jpg\" alt=\"\" width=\"600\" height=\"326\" \/><\/a><!--more--><\/p>\n<p>Aurten, Publikoaren Sarirako hautagaien artean Frantziako Estatuko produkzioek utzi dute arrastoa. Horren lekuko, nabarmentzeko moduko hiru istorio: giro burgesean, bi mutilen arteko amodio ezkutuaz mintzo zaigu <em>Call me by your name<\/em> ederra, sotila, sentsibilitatez betea. Indarkeria matxista du abiapuntu <em>Jusqu\u2019a la garde<\/em> lanak (publikoak bozkatuta Europako pelikularik onenaren saria lortu duena): banandu ostean, emazte ohiari presio egiten jarraitzeko gizonak semearen zaintza partekatua eskatuko du. Erritmoak ondo neurtuta, tentsioa handitzen doa pixkanaka, ileak puntan jarriko dizkizun azken minutuetaraino. Frantziak Oscarretara aurkeztuko duen <em>120 battements par minute<\/em> berriz, sutsua, gerrillaria, pasionala da, Act Up taldearen aktibismoa bezalatsu. 90eko hamarkada hasiera da eta hiesak jende andana hiltzen du, baina Parisko aktibistak ez daude eskuak gurutzaturik geratzeko prest, instituzioetan eta laborategi farmazeutikoetan eragitea dute helburu, eta hain juxtu, aktibismoaren estrategiez, asanbladez, botere-borrokez eta iritzi kontrajarriez lezio interesgarriak ematen ditu filmak. Dinamika ongi orekatua da istorioaren funtsa: ikusezin izateari utzi nahi duen kolektiboaren borroka bizi eta beroa batetik, hiesak kutsatutako gaixoaren gainbehera geldo eta saihestezina bestetik.<\/p>\n<p>Eta azken gomendio bat, tenisa maite dutenentzat, edo kirolaren epika gogoko dutenentzat, edo besterik gabe pelikula on bat ikusi nahi dutenentzat: <em>Borg\/McEnroe<\/em>, bi tenislari handi, bi izaera berezi bezain kontrajarri eta hil ala biziko norgehiagoka gogoangarri bat berreskuratu dituen filma.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jendeak barre egin nahi du, eta negar; sentitu, emozionatu. Beharbada horregatik irabazi du tragikomedia batek Publikoaren Saria. Tragikotik eta komedia beltzetik baduelako Three billboards outside Ebbing, Missouri dibertigarri bezain latzak. Barretik negarrera eta negarretik barrera trantsizioa natural egiteko, ongi harilkaturiko istorioa eta gidoi irmoa beharrezkoak dira, eta horiexek ditu oinarri Martin McDonagh-ek zuzendu eta idatzitako [&hellip;]<\/p>\n","protected":false},"author":21,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[63],"tags":[],"class_list":["post-3243","post","type-post","status-publish","format-standard","hentry","category-zinemaldia-2017"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Publikoaren Saria \/ Barretik negarrera - Jendartean<\/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:\/\/blogak.argia.eus\/mikel-garcia\/2017\/10\/01\/publikoaren-saria-barretik-negarrera\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Publikoaren Saria \/ Barretik negarrera - Jendartean\" \/>\n<meta property=\"og:description\" content=\"Jendeak barre egin nahi du, eta negar; sentitu, emozionatu. Beharbada horregatik irabazi du tragikomedia batek Publikoaren Saria. Tragikotik eta komedia beltzetik baduelako Three billboards outside Ebbing, Missouri dibertigarri bezain latzak. Barretik negarrera eta negarretik barrera trantsizioa natural egiteko, ongi harilkaturiko istorioa eta gidoi irmoa beharrezkoak dira, eta horiexek ditu oinarri Martin McDonagh-ek zuzendu eta idatzitako [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/blogak.argia.eus\/mikel-garcia\/2017\/10\/01\/publikoaren-saria-barretik-negarrera\/\" \/>\n<meta property=\"og:site_name\" content=\"Jendartean\" \/>\n<meta property=\"article:published_time\" content=\"2017-10-01T09:06:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/blogak.argia.eus\/mikel-garcia\/wp-content\/uploads\/sites\/23\/2017\/10\/three-billboards.jpg\" \/>\n<meta name=\"author\" content=\"Mikel Garcia\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mikel Garcia\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutua\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/2017\\\/10\\\/01\\\/publikoaren-saria-barretik-negarrera\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/2017\\\/10\\\/01\\\/publikoaren-saria-barretik-negarrera\\\/\"},\"author\":{\"name\":\"Mikel Garcia\",\"@id\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/#\\\/schema\\\/person\\\/b83f08474a2e1521971e7c4474a34c33\"},\"headline\":\"Publikoaren Saria \\\/ Barretik negarrera\",\"datePublished\":\"2017-10-01T09:06:49+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/2017\\\/10\\\/01\\\/publikoaren-saria-barretik-negarrera\\\/\"},\"wordCount\":313,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/2017\\\/10\\\/01\\\/publikoaren-saria-barretik-negarrera\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/wp-content\\\/uploads\\\/sites\\\/23\\\/2017\\\/10\\\/three-billboards.jpg\",\"articleSection\":[\"Zinemaldia 2017\"],\"inLanguage\":\"eu\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/2017\\\/10\\\/01\\\/publikoaren-saria-barretik-negarrera\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/2017\\\/10\\\/01\\\/publikoaren-saria-barretik-negarrera\\\/\",\"url\":\"https:\\\/\\\/blogak.argia.eus\\\/mikel-garcia\\\/2017\\\/10\\\/01\\\/publikoaren-saria-barretik-negarrera\\\/\",\"name\":\"Publikoaren Saria \\\/ Barretik negarrera - 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