Alfonsine wasn’t just a closed door

An Argentine journalist found himself in a landfill shortly after Raoul Alfonsin He left his performance as president of Argentina, a poster he managed to make Videla Military Council He sat down on the bench shortly after marzipan He could have fulfilled his mandate regarding death.

Those who were not killed and persecuted They went into exile, among other countries to Spain, where many still live. Some of them must have been there the day you saw the film in Madrid that evokes the trial that took place Plaintiff Straceraamong other jurists. The movie could be an Oscar. In this film that relives horrific events, an interpretation Ricardo Darin, which puts the face (and soul) of the very famous prosecutor. The movie was written as if it actually won an Oscar, which is of course a huge cinematic advantage.

While I saw it, it seemed to me that Something didn’t accumulate in my memory And what appeared on the screen. I remembered that Raúl Alfonsín was instrumental in dismantling that barbarism committed by the wounded men who are so well imitated in the film. And so the president who repeatedly said yes to the trials (though he didn’t appear in the movie) appeared to me with the appearance that my friend had picked him up out of the mud in the street and kept him in his office. He found it in a garbage dump near the party headquarters From which came that good man to take over the first democratic presidency after the sad and ruthless care of Videla and his people.

There was, I say, a hole in my memory. Where was Alphonsine, why didn’t he get out? Until, let’s say, Alphonsine came out. In the script of the film there is an intrigue that seems to have been revealed: the impression that the President of the Republic will call the Prosecutor General for dismissal so that he softens the tone, and thus we (the onlookers) approach the moment when such a capitulation will occur. In fact, Strasera / Daren He goes to the appointment, walks to the place where the high-ranking president is waiting for him, and when those doors, white as those that housed Putin on the day Macron received, behind the prosecutor, close, we only know that there was a meeting. No one in the world who should have made up the list of writers and producers for such an intense movie had an idea Look for Alphonsine’s double So that the spectators could also find out what air possessed the man who brought to justice those guilty of the immense suffering of Argentina.

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This emptiness made an impression on me in that part of the stomach where disappointments are usually kept. Late in the movie, when Darren gave the speech judging the order, for his part, we heard the actor say this expression, no moreAnd the The one with which a report came down in history bears nothing less or more than a name Ernesto Sabato.

Apart from the other considerations that may be made regarding the persistence of the names of writers, who tend to be forgotten in a trash like the one in which my friend saved Alfonsine’s poster, it is impossible to forget the identity of the author On heroes and graves also tunnelAnd the Titles that, by the way, would have come as well as metaphors for Videla’s barbarism for the other ruthless (and well-acted) generals in the movie.

But Sabato wasn’t there either. Neither his name nor the organization that supported his investigations nor his blind glasses were there to represent the old man who lives in Santos Lugares. That phrase, as he said in the movie Darín / Strassera, was previously From the common people, to all of humanity, and in that previously It seems that the reason for forgetting it now is already (previously) It will live forever on kinescope.

Those absences accompanied me until the end of the film, and they followed me into the street and beyond. They even took me to a memory very close to my life. Years after that guy who dresses in the movie like the white door and doesn’t appear in the story he helped improve, there was a memorable job at the Swedish Embassy in Buenos Aires, because he was a model, because he was sad. He represented the unforgettable couple of ambassadors Peter Landelius, ambassador, and for his wife Nancy, who lives in Chile, where this great diplomat died and was a better person. Landelius was a writer, translator, and presenter of literature by Gabriel García Márquez, Mario Vargas Llosa, and other writers bubble For Swedish publishers therefore Nobel Academy.

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At that time the couple was preparing to honor Carlitos, son of Carlos Fuentes, the great Mexican writer, and his wife Silvia. I was also going to attend the award Raoul AlfonsinAnd, indeed, I saw him arrive, dressed as an enlightened peasant, his coat thin and warm, his mustache as if he did not speak much. He was standing beside the piano in the house, which I noticed was leaning as if he felt more comfortable there than where the authorities would be. It was the highest authority to come Carlos Fuenteswho was the star of the Buenos Aires Book Fair at the time, and Carlos Fuentes did not attend.

author skin change He was overly responsive to the statement of the Argentine Foreign Minister at the time, and given the possibility of the high-ranking official in the entertainment of Carlitos (who was honored, because of his portraits), The Nobel candidate left the forum. We saw in the hosts the disappointment made to tears. The Mexican author had offended them both for no reason. The former president stayed there, cheering on Nancy and Peter, hosting the joy of Carlos Fuentes’ transformation into weirdness and emptiness.

Since then, Alphonsine hasn’t been just a guy in history to me. He was a man, a person. And not only because of I miss him in the movieSo that this could be explained better, that trial, did not come out of nowhere, I called some Argentinian friends, in case they explained it to me. The person who explained it to me in more detail, which I am very grateful for, was a former boss collaborator It was silenced in the movie (And now, in history). He told me: The film is tolerant of Peronism before, during, and after the trial. Reduces or distorts the work of the boss’s collaborators that was crucial in that episode & mldr; And the patient friend, who was talking to me from Chile, told me something else: When Kitchener Peronist’s guts were so cocky in public at the end of Videla’s reign that someone must have told the infamous chief that he might have missed the brakes, so he called Alfonsín to apologize. “I know you’re angry.” No, the guy told him we’re in the movie we don’t see behind the white door. “I’m not angry, I’m hurt. Jesus explained to me that these apologies were never made public.

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And now, in the movie, the historical score of this exchange, is omitted as Faith the mistakes of silence. From what I saw for Alfonsin that day when Fuentes stood before those who were waiting for him, he was a man so patient that he was content with the piano part that all the actors in history had ever made into a movie.

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