Representation strategies. The (in) visible in 3 6 5 of Mario Jara

Abstract

The relationship of reality with cinema is, even today, a fruitful unsolved debate. Bazin believed that reality should be the main raw material for 21st century art, but unlike the American movement of the last century, coined under the label of "direct cinema" –which advocated a documentary cinema that sincerely sought to represent it, Through his direct filming, the founding formalist of Cahiers du Cinéma defended revealing the invisible through the tools of representation. In this way, the usual confusion that leads to identifying "reality" with "realism" would be overcome with uses of appearance, capable of transmitting the essence of things beyond their immediate registration. Close to these last postulates is the film 3 6 5 (2019), a portrait loaded with psychological depth about a woman who pursues the dream of living from music but ends up, as in the worst nightmare, sleeping on the street. In this film, with a marked social vocation, the camera wanders with its protagonist through boulevards of broken dreams with a broader view than its own objective and transcends its framework (also literally, that of the frame) to compose a generational portrait and reveal, from naturalism, one of those snapshots where other very real specters appear: the invisible inhabitants of the urban landscape of our society and time.