Pablo Trapero’s poetics: impotence, cathabasis and corrosion of the law
DOI:
https://doi.org/10.24310/Fotocinema.2020.vi21.10015Keywords:
Argentine cinema, Trapero, Pablo, Authors, New Argentine Cinema, Film analysisAbstract
The aim of this article is to analyze some features of the poetics of Pablo Trapero, one of the most relevant and prolific directors of contemporary Argentine cinema. For this purpose, we have selected four films –El bonaerense (2002), Lion’s Den (2008), Carancho (2010) and The Clan (2015)– that are representative of different stages of his filmography. The study appeals to an authorial perspective, as well as a sociological approach of the films. The analysis of Trapero’s poetics is presented according to three axes: the construction of the characters, the figuration of family, and the emergence of a social outlook on Argentina post-crisis of 2001, marked by the corrosion of the law and the normalization of transgression. An authorial perspective contributes to the understanding of the so-called New Argentine Cinema and its industrial evolution: a phenomenon in which Trapero has played a fundamental role.
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