Acceso usuarios
Nekane Zubiaur Gorozika
El artículo analiza la forma en que las películas de Juan José Campanella El mismo amor, la misma lluvia (1999) y El secreto de sus ojos (2009) reformulan algunos de los rasgos principales del melodrama. Ambas películas ponen en escena la reconstrucción de la memoria del personaje, narrada por él mismo, con el objetivo de obtener una segunda oportunidad que le permita recuperar el amor perdido y alcanzar un final feliz. Esta reconstrucción permite además articular un juego reflexivo y metalingüístico en torno a la creación de la ficción y vincular la memoria individual con la memoria histórica y colectiva de Argentina.This article analyzes the way the films by Juan José Campanella Same Love, Same Rain (1999) and The Secret in Their Eyes (2009) reformulate some of the main characteristics of melodrama. Both films show the reconstruction of the main character’s memory, told by himself, in order to earn the opportunity of a second chance, the possibility to recover the lost love and come to a happy end. This reconstruction starts a reflexive and metalinguistic game up around the creation of fiction and links individual memory to the historical and collective memory of Argentina.
This article analyzes the way the films by Juan José Campanella Same Love, Same Rain (1999) and The Secret in Their Eyes (2009) reformulate some of the main characteristics of melodrama. Both films show the reconstruction of the main character’s memory, told by himself, in order to earn the opportunity of a second chance, the possibility to recover the lost love and come to a happy end. This reconstruction starts a reflexive and metalinguistic game up around the creation of fiction and links individual memory to the historical and collective memory of Argentina.
