Today en coming Thursday the two last reflections on Cria Cuervos, one about the house (home) and the rooms, the other about the women in the story, and, turning backwards to the beginning, about the immortal view of the child. The house of your youth is an universum. Magical, mythical, or a hell on earth… The roots of your identity are there and are being formed and deformed. Identity is a dynamic process, a continuous search for who you are. The embodiment of finding meanings has the character of a research. In Cria Cuervos this is spacefully symbolized in the big old house and the ‘hortus conclusus’, the classic domain for all the secrets of the world. All aspects of life and death, of love, sex, pain and happiness, find their playground. In that sense Ana is moving from one space to another one, from above to downstairs, from inside to outside, from day to night.
In Piano Etude 6, pianissimo, Magdalena plays inimitably: A house is not a home….
Each space has its own essence and magic. The spaces are rooms, rooms of the heart through which the blood of life is streaming and pumping. The rooms can be separated these into two sorts: their own rooms and the hidden rooms. Ana’s ‘own’ room is the sleeping room, together with her sisters. The door stays open, not closed, to keep the connection with the mother. Ana is evoking her in a magical way, and the mother is appearing again and again, walking in the corridor, until she enters the room and is not there, then she calls her, abandoned and in panic. The own room is also the room in which to play with her sisters, to dance in Porque té vas, to dress themselves up and be adult – and Ana plays of course the mother part. The other ‘own’ room is the kitchen, the space of Rosa and her life lessons. The last own room is the garden with the empty swimming pool, as sign of lost glory and at the same time an open underground playing field, an own domain for Ana.
The other spaces are forbidden ones, only to enter with permission, the sleeping room of the parents, the living room late at night, in which mother is writing, but then you have to sleep already for a long time. The forbidden rooms have an enormous power of attraction, there is the secret of life present in her inhabitants, the adults, there the cohesion in the world is performing, there’s love and sex, pain and death, there’s music, there the unheard dialogues and monologues, there life and the world will be controlled and made. Ana never enters these spaces directly, there’s a slowly moving closer, a waiting in the door opening, or on the corridor in front of the light opened door. It’s the art of entering these spaces and at the same time not being remarked, to be invisible, to see the big secrets of life, secrets of love and death, of desire and betrayal, of intimacy and surroundings, with the adults as masters and as mirrors, the ones who first are there and afterwards disappear, finally forever, without goodbye, pitiless, without grace: Porque té vas?
On the threshold of these rooms Ana stands and looks and in her looking she gives meaning to the world in front of her eyes. This creating meaning is mythical: memories can become alive and appear actual, death and life are a way of being which can change, on and on, where you can have the choice, with the help of magic power with which you can kill an elephant. And Ana is making this possible or thinks she is and is looking strongly, persistently.
filmstills: Teodoro Escamilla,1976