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<p>Han pasado m&aacute;s de cien a&ntilde;os desde que Alma Mahler y Oskar Kokoschka sacudieran la moral de la Viena de principios de siglo XX, pero su historia sigue siendo fascinante. Ella era la viuda m&aacute;s deseada del Imperio Austroh&uacute;ngaro tras morir su esposo, el insigne compositor Gustav Mahler; Kokoschka, el&nbsp;<em>enfant terrible</em> de la vanguardia vienesa. Detr&aacute;s, no obstante, de esa imagen de fantas&iacute;a rom&aacute;ntica burguesa, est&aacute; la verdad de sus sentimientos, de sus aspiraciones. &ldquo;Es cierto que Alma Mahler ha sido retratada durante a&ntilde;os como una devoradora de hombres&rdquo;, explica la escritora y guionista Hilde Berger, responsable del libreto de <em>Alma Mahler, la pasi&oacute;n</em>. &ldquo;Tanto hombres como mujeres la han mostrado como ego&iacute;sta y altiva, pero muchas de las cosas que se han dicho sobre ella no son ciertas&rdquo;.</p>
<p>Berger habla con fundamento, ya que lleva profundizando en la vida de Alma Mahler desde hace treinta a&ntilde;os. Su primera novela abodarba ese tema, fruto de una investigaci&oacute;n personal, y a Alma ha regresado junto a Dieter Berner, encargado de dirigir este singular biopic a dos voces. &ldquo;Tuvimos muchas dudas sobre c&oacute;mo plantear el punto de vista del filme, ya que, evidentemente, nos interesaba que Alma apareciera como la figura compleja que fue, como mujer y&nbsp;como artista, pero al mismo tiempo estaba la presencia de Oskar&rdquo;, explica el director. Para encontrar esa &ldquo;narrativa com&uacute;n&rdquo;, decidieron filmar cada escena en que ambos aparecen juntos con dos c&aacute;maras, una anal&oacute;gica y la otra digital, para conjugar en plural una pel&iacute;cula sobre dos individualidades arrolladoras.</p>
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<p>Valentin Postlmayr encarna al controvertido pintor, mientras que Emily Cox da vida a una Alma Mahler repleta de matices. &ldquo;Emily viene de familia de m&uacute;sicos, y eso imprime una conexi&oacute;n especial con el personaje&rdquo;, dice Berner sobre su protagonista. &ldquo;Para m&iacute; era esencial conseguir una int&eacute;rprete con esa sensibilidad&rdquo;, contin&uacute;a.</p>
<p>Su atenci&oacute;n a los pormenores de la pel&iacute;cula es meritorio y la cinta est&aacute; majestuosamente elaborada. Por una parte, su experiencia en el cine de la &eacute;poca con el biopic <em>Egon Schiele. Death and the Maiden </em>(2016), mientras que en <em>Alma Mahler, la pasi&oacute;n</em> todo est&aacute; cuidado hasta el detalle. Incluso se han recreado las m&aacute;s caracter&iacute;sticas pinturas que Kokoschka realiz&oacute; entonces. La infame mu&ntilde;eca, s&iacute;, pero tambi&eacute;n cuadros tan hermosos como <em>La novia del viento</em>, un torbellino expresivo de dos turbadoras personalidades. <strong><em>&nbsp;</em></strong></p>
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Retrato de la novia del viento

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