To subtitle or not to subtitle, by Carlos Mayoral

Imagine yourself, reader, who gives you to try the honeys of artistic direction. That invests years in allowing a story to macerate, and at the same time molding it internally so that it takes shape. That he finally decides to shoot it, that he looks for financing everywhere. Who works for months and months in complete solitude, selecting actors and actresses, sets, spaces, costumes, music, what do I know. I know He also opts to shoot it in Catalan. Finally, after giving his life to it, the movie finally makes sense. She has found a tone, a style, that form that she was looking for in the back lines. The first views before the premiere are filled with hugs. You have created, reader, a masterpiece. Finally it is released, with dazzling critical and public success. However, on a spring day like any other, a group of tweeters and journalists realize that you -or someone on your team- have made the decision to subtitle the film in Spanish, with the sole intention that the work reaches the largest number of public possible. That’s when they decide to torpedo the tape. Smear campaigns are created, hashtags humiliating and negative currents around her. All the artistic, intellectual and economic work torpedoed by a group of fanatics.

Well, what you and I have imagined is what has happened to Carla Simon with your movie Alcarràs. It turns out that the distributor has given the possibility for cinemas to broadcast the film in Catalan with and without subtitles. This has meant that several profiles on social networks speak of pettiness, shame, blabla. Some profiles even they advocate boycotting the film if the cinemas do not agree to broadcast in Catalan without subtitles. When questioned about the matter, the director, with the necessary courage, has affirmed that not only have copies of the tape been distributed with subtitles, but it is about to come out, without taking too long, a version dubbed into the Spanish language. The result of this dubbing work will allow Alcarràs can be seen in 150 theaters on the peninsula, for the barely sixty in which it could be broadcast summer 1993, his previous film, which was not dubbed. After all, what could be more rewarding for a creator than the fact that his work reaches as many people as possible? Being both official languages, it is evident that leaving Spanish out of the equation prevents the connection with countless listeners, can a creator afford it?

The two questions that hover over the previous paragraph can be easily answered if a little common sense is applied, but it turns out that this sense ceased to prevail in this country of ours a long time agowhere there are children who cannot study in their native language despite it being official, where private series platforms are forced to maintain quotas with content in this or that language, where participants who brandish a certain language are banned from the media … The communicative function of language has given gave way to a disgusting prevalence of the political factor, leaving behind the linguistic peace that came to reign at some point in democracy. Seeing the neighbors hit each other with Goyesque clubs because the one who distributes the food handles a specific language produces a fright similar to that described by the disjointed faces of the Aragonese painter. It is not the languages ​​that divide us, but the political projection that a bunch of politicians have thrown at them. Yes, as I said Wittgenstein, language defines the limits of our world, of course we are left with a very closed and nineteenth-century one, with its smell of mothballs, its despotism and its everything. Anyway.