Interexistencia: liberación afectiva y parentesco en The Last Dance
DOI:
https://doi.org/10.3989/arbor.2026.815.3105Palabras clave:
The Last Dance, cine postcolonial hongkonés, interexistencia, Hong Kong 2019, parentescoResumen
Po • deijuk (Po • diyu or The Last Dance, Anselm Chan, 2024) se convirtió en la película en chino más taquillera de la historia del cine de Hong Kong el 7 de diciembre de 2024. La popularidad de The Last Dance se puede atribuir a su capacidad para tratar la rabia y la frustración (abiertamente) acumuladas durante la pandemia de COVID y durante las protestas contra la propuesta de enmienda a la Ley de Anti-extradición (A-ELAB) en 2019 y 2020, dos acontecimientos que se consideran la cristalización de los problemas de gobernanza del Hong Kong postcolonial. Argumento que el modo en el que la película aborda esto es reabriendo y reescribiendo las redes de flujos afectivos que han sido bloqueados no sólo por los recientes traumas sociopolíticos, sino por una infraestructura interpresonal que la mayoría de los hongkoneses no han sabido abordar. Desde esta perspectiva, la película explora las limitaciones de cómo hemos estado entendiendo el cine hongkonés en términos jurídico-judiciales (colonialidad-postcolonialidad). Al contrario, exige una nueva comprensión de las relaciones interdependientes entre los seres humanos. En este trabajo utilizo el concepto de «interbeing» [inter-ser] de Thích Nhất Hạnh como un marco para repensar cómo pueden ser entendidas las relaciones interdependientes y el parentesco. Para Thích, cada ser se comprende mejor como un punto de convergencia de todos los seres, y lo que consideramos un ser individual es ya un «interbeing». Para mí, el concepto de interbeing es útil no sólo como modelo hermenéutico, sino para reimaginar cómo pueden los hongkoneses ir más allá de las opresivas condiciones postcoloniales liberándolas de sus bloqueos afectivos y adhesiones.
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