TODA PEL&Iacute;CULA LLEVA las circunstancias de su rodaje inscritas en sus im&aacute;genes. En el caso de El sur, esas cicatrices tienen la forma de una ausencia, de todo lo que falta por contar. El sur, adaptaci&oacute;n de la novela hom&oacute;nima de Adelaida Garc&iacute;a Morales, estaba pensada y concebida para tener dos partes, una que se desarrollase en un norte fr&iacute;o, desangelado, fantasmal y nost&aacute;lgico; y la segunda en el sur que daba t&iacute;tulo al filme, luminoso, c&aacute;lido, m&aacute;gico. Sin embargo, retrasos y problemas de financiaci&oacute;n conllevaron que el rodaje se interrumpiese, que se comenzase a montar la primera parte y que el productor estrenase esa primera parte montada en Cannes como una obra acabada. El &eacute;xito de esa proyecci&oacute;n hizo que jam&aacute;s se rodase la segunda parte. Y as&iacute; es como la hemos recibido siempre, como una obra cerrada. Como una pel&iacute;cula m&aacute;gica, extra&ntilde;a, que hace&nbsp;que la poes&iacute;a fluya con la eficacia del mecanismo de un reloj.<img src="http://magarticles.magzter.com/articles/6269/282405/5b0eee5c6411f/1527705111050.jpg"" owidth=629 oheight=388" style="height:388px; width:629px" />El sur nos vuelve a contar, como El esp&iacute;ritu de la colmena, la p&eacute;rdida de la inocencia, una historia ambientada en la infancia pero donde los fantasmas de un pasado que no pertenece a las ni&ntilde;as impregna cada plano y cada latido. En este caso, tenemos la figura de un padre ausente en su presencia, que siempre est&aacute; perdido en un recuerdo que no se acaba de conocer. Eso envuelve al padre, maravillosamente encarnado por Omero Antonutti, en un aura de misterio y silencio que hay que romper para el paso a la madurez, que en esta pel&iacute;cula est&aacute; &iacute;ntimamente relacionada con saber. Como si Erice nos dijese que crecer es aprender, aprender es perder y perder es sufrir. La historia del zahor&iacute; que busca agua con el p&eacute;ndulo se convierte en la met&aacute;fora de la pel&iacute;cula: hay un saber&nbsp;oculto que no hay que contar, porque est&aacute; siempre presente.<img src="http://magarticles.magzter.com/articles/6269/282405/5b0eee5c6411f/1527705111093.jpg"" owidth=618 oheight=383" style="height:383px; width:618px" />Lo que consigue V&iacute;ctor Erice en esta pel&iacute;cula es un ejercicio de ilustraci&oacute;n l&iacute;rica de los silencios como pocas veces se ha conseguido en la historia del cine. Con un ritmo lento, puntuado por algunos momentos musicales (como el maravilloso baile de comuni&oacute;n), y una gama crom&aacute;tica que transporta a un invierno sensorial m&aacute;s que estacional, la pel&iacute;cula muestra un ecosistema familiar, basado en el secreto y el ocultamiento, que nos narra a su vez la m&iacute;sera posguerra donde el cineasta creci&oacute; y a la que nos llevan una y otra vez sus pel&iacute;culas.<img src="http://magarticles.magzter.com/articles/6269/282405/5b0eee5c6411f/1527705111111.jpg"" owidth=479 oheight=299" style="height:299px; width:479px" />A pesar de sus heridas y sus cicatrices, El sur se nos presenta en su inacabamiento como la obra que mejor ha contado los fantasmas interiores que asolaron a la generaci&oacute;n que vivi&oacute; la guerra.

El Sur

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