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Desde sus orígenes, el cine de Roman Polanski ha mantenido intacto su poder de fascinación sobre el espectador cinematográfico, tanto por su incansable modernidad, como por la inevitable polémica que siempre arrastran sus películas. En este caso, pretenderemos acercarnos a dos comedias, escasas en su filmografía, como son What? (1972) y Carnage (2011), muy distantes en el tiempo aunque con interesantes coincidencias temáticas y narrativas. Nuestro interés primordial será ahondar en su retrato de las figuras femeninas de ambas obras y su ubicación, física y metafórica, en el espacio de la casa. Siguiendo la estela de maestros como Luis Buñuel, Marco Ferreri o Stanley Kubrick, Polanski encerrará a sus mujeres en un refugio hostil y sin salida para que vaya cayéndose progresivamente la máscara de la sociedad moderna, dejando salir, poco a poco, al animal primitivo que nunca hemos dejado de ser. Esto no es una casa, sino una balsa llena de náufragos tratando de sobrevivir.Since his very first works, Roman Polanski has been able to maintain intact a powerful fascination in the film spectator, not only due to his inexhaustible modernity, but also because of the unmistakable controversy that his movies always acquire. In this case, we will focus on two comedies, What? (1972) and Carnage (2011), which are chronologically quite distant but that carry interesting thematic and narrative coincidences. Our interest will be to delve into his portrayal of the female characters in both films, and their subsequent physical and metaphorical location in the space of the house. Following the trace of masters like Luis Buñuel, Marco Ferreri or Stanley Kubrick, Polanski will enclose his women in a hostile refuge with no exit where we will witness the fall of modern society’s mask, where they will let loose the primitive animal we have never stopped being. This is not a house, but a raft of shipwrecked trying to survive

Esto no es una casa. La casa sin salida en el cine de Roman Polanski