NOTEBOOK. ZUZENDARIAREN OHARRAK Ángeles González Sinde

That social violence leaves traces is something that no one denies today. That this violence generates damage if it is not publicly expressed, is not constructed in the form of a story and is not shared, is something less known.

Numerous studies by anthropologists, psychiatrists and sociologists confirm that social violence is not resolved simply with a peace agreement, however important and complex it has been to reach it. The symbolic elaboration of the lived, the suffered and the lost is needed.

Somehow the fear, tensions and suffering experienced nests in our body and in our psyche, whether we want it or not, whether we know it or not, and generate in us conditioning factors that will prevent a path free from bonds and a new principle if they are not resolved. These past wounds are inherited from parents to children, conditioning behaviors and emotions, until someone dedicates to stand, look back and break the chain.

Cinema, like literature, can be a liberating vehicle through which suffering is expressed and resolved. It cannot repair the loss, nor compensate for the horror experienced, but it can contribute to a new peaceful space of coexistence where everyone feels heard. It is natural and healing that in recent times novels have appeared that try to report on what happened over 40 years of violence and 829 deaths. But it is not his contribution to the end of silence the main virtue of “The Commensal” nor the only thing that drew me initially from the project. It was the voice of her young author, Gabriela Ybarra, the discarded distance that never falls into the easy or the sentimental, getting emotional.

Indarkeria sozialak arrastoak uztea inork ukatzen ez duen zerbait da. Indarkeria horrek kalteak eragiten dituela publikoki adierazten ez bada, ez dela kontakizun gisa eraikitzen eta ez dela partekatzen, ez da hain gauza jakina.

Antropologoen, psikiatren eta soziologoen azterketa ugarik berresten dute gizarte-indarkeria ez dela bake-akordio baten bidez soilik konpontzen, oso garrantzitsua eta konplexua izan arren. Bizitakoa, sufritutakoa eta galdutakoa sinbolikoki landu behar dira.

Beldurrak, tentsioek eta sufrimenduak, nolabait, gure gorputzean eta gure psikean dute habia, nahi dugun ala ez, jakin ala ez, eta baldintzatzaile horiek eragotzi egingo dute loturarik gabeko bidea eta printzipio berri bat, konpontzen ez badira. Iraganeko zauri horiek gurasoengandik seme-alabengana heltzen dira, jokabideak eta emozioak baldintzatuz, norbaitek gelditu, atzera begiratu eta katea hautsi arte.

Zinea, literatura bezala, sufrimendua adierazteko eta konpontzeko bidea izan daiteke. Ezin du galera konpondu, ezta bizi izan duen izua konpentsatu ere, baina lagun dezake denok entzuten dugun bizikidetzarako espazio lasai berri batean. Naturala da, eta sendagarria da azken bolada honetan 40 urtez baino gehiagoz gertatutako indarkeria eta 829 hildako kontatzen saiatzen diren eleberriak agertzea. Baina ez da isiltasunaren amaierari egiten dion ekarpena “El Comensal”-ren bertute nagusia, ez eta proiektutik hasiera batean erakarri ninduen bakarra ere. Gabriela Ybarra idazle gaztearen ahotsa izan zen. Inoiz ez da erraza, ez sentimentala, hunkitzea lortu du.