a revolutionary, punk and basque compendium of globalized struggle


Here is an animated film that, to say the least, moves. A kind of Corto Maltese à la basque, more violent, more anar, more sex, more punk. The author, Fermin Muguruza, born in Irun (Spain) in 1963, militant of the Basque cause, became famous on the punk rock scene in the 1980s with the group Kortatu, before evolving towards a music that was noticeably more world and , above all, to spread his inextinguishable thirst for creation in the most varied fields.

This is how his graphic novel was published in 2015 Black is Beltza (Bang), whose first animated adaptation saw the light of day in the cinema, in 2018. The story, a mixture of espionage and revolutionary gesture, was then concentrated between Cuba and the United States in the 1960s, in a world in full cold war, but electrified by the effervescence of the global emancipation movements.

Psychic effervescence

A second part comes out today, which takes place twenty later, at the end of the 1980s, in a world reconfigured by the end of the cold war. Its heroine, Ainhoa, is the daughter of Manex, main character of the previous volume, exfiltrated in Cuba to escape an assassination fomented against him by the CIA. The young and fiery Cuban, motherless, murdered in Bolivia, does not know her father either, who has only paid her rare and distant visits, but will follow in her footsteps by traveling to the Basque Country, where she joins a pro-independence youth movement and met his grandmother. However, it would be misunderstanding the psychic effervescence of Muguruza to think that the director will wisely stick to this local version of the globalized struggle.

The design, with its stylized realism, borrows from pop art and neighbors with non-manufactured elements that underline the desire for an art in tune with reality.

This is how, multiplying the adventures like bread and not excessively bothering with narrative plausibility, Muguruza sends his beautiful fighter to scrap to the four corners of the battlefields of the planet, from Lebanon to Algeria, passing by Afghanistan, Turkey, Kurdistan or France. Making her cross paths with an underworld of spies, traffickers and terrorists, sacrificing to a political vision of the world that includes a few brutal shortcuts, spicing it all up with scenes of liberated sex, the director throws her at the same time into a melodramatic bath worthy of a telenovela.

You have 21.28% of this article left to read. The following is for subscribers only.

source site-19