Sobre os abismos
Autor: Nadiana Lima | Publicado: 2014-11-17T02:02:00-03:00

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Cena do filme Her


Há alguns anos, retomei o hábito de
escrever cartas. Muitas delas são para mim mesma, outras alcançam outros
destinatários. Escrever, não digitar. Mas se digitadas, perderiam a importância
do dizer? Se manuscritas digitalmente, a partir de um sistema que capta a voz,
teriam menos valor? Logo na primeira cena do filme Ela, ambientada num futuro
que, por não ser datado, pode ser sempre, descobrimos que o trabalho do protagonista é este: criar cartas para
e por pessoas desconhecidas. E essa é a grande ironia que perpassa todo o filme
e que o torna complexo como nossas relações. A mesma pessoa que se mostrava
incapaz de escrever a sua própria carta dirigida a quem a merecia, que se
mostrava impotente diante da incompreensão do que se passava consigo mesma, que
se mostrava estagnada diante de um recente vazio, era habilidosa suficiente
para criar cartas belas, porque sensíveis, para outras pessoas que contratassem
seus serviços - e que, por sua vez, também não as escreviam. No filme, Theodore
recorre a um moderno sistema operacional para distrair-se de seu vazio, mas é
se distraindo que ele percebe que um vazio só se preenche quando é encarado,
quando é abismado, quando é possível sentir vertigem. A do protagonista vem em
decorrência do confronto com os números. Muitos, impossíveis aos humanos.
Humanos que são feitos de um corpo e de um, dois, poucos. "Ela" não
trata apenas da relação homem/tecnologia, mas a partir dela nos grita sobre o
movimento necessário de se perder para se achar, de se afastar de si para se
ver, o que só acontece com quem está atento aos esclaros - brigada, Rosa - do
percurso. Não importa tanto se frutos do reluzir da tela do computador ou da
poça d'água que "transporta o céu para o chão".



(Comentário de 19.02.14)