The worst thing is not that fashion stores, offices, or tourist apartments could emerge from the old Comedia cinema: that has already been sufficiently averted, as it is illegal. The problem is that the drift of recent years towards new leisure spaces normally leads to immersive blunders, ephemeral exhibitions of new technological wonders, or supposed culture houses where you suddenly find yourself being presented with a car model. I ask, I beg, that we do not encounter the umpteenth immersive Barcelona experience where, apart from being able to wander along Passeig de Gràcia in an 1880s carriage, we are offered the possibility of entering Cerdà's squared dreams and even, for a slightly higher price (let's say 60 euros more), the adventure can be linked to a dreamlike visit to one of Belgium's most important techno festivals. Oh, and so it's not said, let's put a space for theater. Musical, if possible. And an exhibition of AI-produced art, because we can't be left behind. The nocturnal mappings, both nocturnal and daily and regular, are obviously beyond any doubt.
There are things that can only be put in the hands of love, however corny it may sound. The Comedia cinemas are one of the many that have been closing in Barcelona and around the world, with the great paradox that they fail due to a line that we all know as "commercial cinema." Curiously, "commercial" doesn't sell. And it doesn't sell for several reasons, due to Netflix obviously, but also because going to the cinema is no longer a social event and has practically become like going to your living room. Even the seats already seem designed for you to bring your slippers, and the lobbies have an airport-like coldness that only makes you feel like a popcorn kernel. Or like a pig going to the slaughterhouse.
Along with this, observe the boom of concepts like Phenomena (red carpet and exquisite programming) or the Verdi, resurrected to the point where there's no room for a pin. The Filmoteca, they tell me, is overflowing despite its sordid location. It's the same concept that triumphs in New York or London, where the new gurus, the new great resident DJs, the new orchestra conductors, are the programmers for cinephiles. Not just for cinephiles: simply for everyone who wants to feel that they are going to have a special time, thought out, crafted in an artisanal way. The best thing happening in "commercial" movie theaters is that they no longer sell, and what sells is, let's say, the "alternative." Art, craftsmanship, proximity, humanism, culture. Big special effects films, or big budget films, should not suffer: they can have better outlets in large multiplex cinemas where they coexist with the new and fabulous immersive proposal about The Lleida Cargol Fair Experience. With 4D effects, 360 glasses, HD quality, hyper stereo maxi subwoofer envolving digital punk mega porno, multimedia, everlasting, breathtaking, XXL digital ultimate pro tech version 7.0.
"Observe the boom of concepts like Phenomena or the Verdi, resurrected to the point where there's no room for a pin. The Filmoteca, they tell me, is overflowing despite its sordid location"I propose that the Comedia go towards cinema. Not that it returns: that it goes. I propose that what we try to save is the initial idea, which is what we have lost during these decades: the originality of returning to the origin.If it's not possible through cinema, let it be through the arts understood as a human activity, with skin, face, hands. A theater? Let's talk about it. A center for various artistic disciplines, an extension of the conservatory, a rehearsal space with exhibition? I don't know, all seem fine to me, but I prefer that the Comedia cinema gets closer to cinema and that our particular Barcelona Cinema Paradiso gives a lesson in dignity and style both in multiplexes and on mini-screens and on the arch-platforms. A return, yes, but a journey. We got distracted and, while we were distracted, we were losing our lives. As the aforementioned venues have already shown, a return to elegance and respect for the viewer.
One of the successes of the current line of the Department of Culture has been the commitment to audiovisuals, which is the great cultural battle of our century (as it already was of the previous one, meaning we are late). And if something works on TV3, it is the growing investment in cinematographic/audiovisual creation (preferably not always in Spanish). The Comedia, central as it is, must be a first signal for Barcelonians: Barcelona is back. Barcelona is not for sale, and knows how to do, like the modernists, enormous things with the usual materials. Oh: and in the Jardinets they can do whatever comedy they want, but the heart of our Paseo de Gràcia is not to be touched.
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