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miércoles, mayo 29, 2024

Silence ****

Silence ****Brilliant reflection on faith and religion in the hands of Scorsese. A brave movie, very brave, in these times when faith and religion are not exactly well considered, Martin Scorsese leads a story to honestly reflect on what makes men of faith, what faith generates around the catholic religion, and how to surpass the tests to which it is submitted over time, of very diverse nature, but above all, always, undoubtedly on the part of those who practice it. Do not be confused, Scorsese does not pose a criticism of religion or Christianity, quite the contrary. Praise those who believe and sacrifice, those who suffer and those who live the religion with honesty.

Two young Portuguese priests travel to Japan in the 17th century to investigate the disappearance of a priest who evangelized the area, at a time when Christianity was completely forbidden, forcing practitioners to abandon their new faith or be severely punished, even with death. In that amazing journey narrated as always with a brilliant pulse by Scorsese, we meet two young men whose mission ends up being a personal journey to analyze their own motives, their moments of weakness and strength. And not only theirs, but those of those humble people, who secretly seek the light of religion in which they believe, and who find no greater purpose than sacrifice for it. Become silent martyrs.

The title of the film is not accidental. The silence of a God to the prayers of the protagonist, perhaps never answered. The silence in which they must maintain their presence, their faith, their religion… the silence of a barge in the fog. A silence that may finally be answered… Or not. Andrew Garfield becomes the backbone of the film with a performance as poignant as contained when it must be. In his eyes reflects the director’s pain, sadness, the struggle to maintain sanity, strength … Well escorted by Adam Driver (what excuses will now have those who say he is a bad actor?), The Japanese cast, especially Issei Ogata (Sublime) and Yôsuke Kubozuka, and the presence of Liam Neeson who takes the film in a new direction. He makes merit to take the Oscar.

The result is a not only impeccable technically crafted movie, but beautiful, with echoes of Dreyer or Bergman at times, but also a powerful and deeply moving story about religion. That, in the disbelieving times in which we live, is a manifesto to countercurrent, although at times the film seems to be suspended in time and not advancing at all. There are a few moments, in which it feels like it has stopped, although some talk between Ogata and Garfield or the arrival of Neeson, regain the rhythm. Almost three hours of discussion about the questions we ask ourselves, many without answers, around a controversial subject, which seems to respond to the author’s own questions and confrontations about his own faith. An excellent movie.

Jesus Usero



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