Rosalía regresa a Bogotá: la artista española anuncia parada de su ‘Lux Tour 2026’ en Colombia

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Y esa conexión emocional que establecemos con las historias proviene, en gran medida, de la empatía que nos generan sus personajes. El guionista y analista Karl Iglesias afirma que, al escribir el guion de una película, es imprescindible emplear técnicas narrativas que potencien ese impacto emocional."},{"_id":"BVX5CB5CFFBV7OOKD5WZBVT43Q","additional_properties":{},"type":"text","content":"En una escena de La voz de Hind, Nisreen le explica a Omar que, tras perder a alguien en una llamada de emergencia, es bueno pedir una foto de esa persona. Es decir, ponerle una cara. Lo mismo ocurre con los relatos: cuando contamos una historia con nombre y apellidos, situamos el foco en un personaje concreto. En el caso de las películas basadas en hechos reales, ponerle cara a una persona puede lograr que deje de ser un mero número en una estadística. Así, su historia será más difícil de olvidar."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"La Zona","address":{},"syndication":{},"auth":{"1":"af7f328a8894be08ac74beb32b14aede5ba660473126a41a1b91062990843a4b"},"caption":"Durante la noche en la que intentan activar el protocolo de ayuda, Omar cuelga imágenes de Hind en la oficina para que no se les olvide a quién están intentando salvar.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/WOIPS66RFJB43ECXJQWBZ444GA.jpg","licensable":false,"alt_text":"Durante la noche en la que intentan activar el protocolo de ayuda, Omar cuelga imágenes de Hind en la oficina para que no se les olvide a quién están intentando salvar. 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El suceso narrado se prolongó durante varias horas, pero la película lo condensa en 89 minutos."},{"_id":"GP2V6FQ6NNCSLKYHV3PKVEC6A4","additional_properties":{},"type":"text","content":"No sólo se han seleccionado los momentos clave de lo ocurrido; también se les ha dotado de una estructura de relato cinematográfico, con su conflicto ascendente, su midpoint, sus puntos de giro y un clímax final desolador: cuando la ambulancia que por fin ha sido autorizada para rescatar a Hind está a tan sólo unos metros de la niña, se escucha el impacto de un proyectil. La comunicación con los rescatistas, Yusuf Zeino y Ahmed al-Madhoun, se corta inmediatamente. En ese preciso instante, la desesperanza que invade las oficinas de la Media Luna Roja atraviesa también a los espectadores."},{"_id":"RWSYRGRSRRCLFJ5IHAKBTA5TOQ","additional_properties":{},"type":"text","content":"Más allá de las técnicas tradicionales de guion, el equipo creativo de esta película tomó una decisión radical: mezclar el relato ficcionado con la voz real de Hind. Desde el primer momento la audiencia sabe que, aunque está viendo a actores interpretar a los voluntarios de la Media Luna Roja, las grabaciones con la voz de Hind son auténticas."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"La Zona","address":{},"syndication":{},"auth":{"1":"9579dc5996437deb6e0beb3fdcc1a28203def4fcf458e45a845678f2bff13ebf"},"caption":"Un fotograma de la película en el que se reproducen los audios de Hind indica que las voces en el teléfono son reales.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/KRCOJUDNINHC3JPQK6WRR5LTXE.jpg","licensable":false,"alt_text":"Un fotograma de la película en el que se reproducen los audios de Hind indica que las voces en el teléfono son reales. La Zona","credits":{"affiliation":[{"name":"La Zona","type":"author"}]},"subtitle":"'La voz de Hind’","width":1000,"creditIPTC":"La Zona","_id":"KRCOJUDNINHC3JPQK6WRR5LTXE","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/KRCOJUDNINHC3JPQK6WRR5LTXE.jpg?auth=9579dc5996437deb6e0beb3fdcc1a28203def4fcf458e45a845678f2bff13ebf","proxyUrl":"/resizer/v2/KRCOJUDNINHC3JPQK6WRR5LTXE.jpg?auth=9579dc5996437deb6e0beb3fdcc1a28203def4fcf458e45a845678f2bff13ebf","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/KRCOJUDNINHC3JPQK6WRR5LTXE.jpg","published":true,"resizeUrl":"/resizer/v2/KRCOJUDNINHC3JPQK6WRR5LTXE.jpg?auth=9579dc5996437deb6e0beb3fdcc1a28203def4fcf458e45a845678f2bff13ebf","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/KRCOJUDNINHC3JPQK6WRR5LTXE.jpg?auth=9579dc5996437deb6e0beb3fdcc1a28203def4fcf458e45a845678f2bff13ebf&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"file-20251210-56-bpc1pm.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2026-02-10T15:15:49Z","last_updated_date":"2026-02-10T15:15:49Z","height":438,"image_type":"photograph"},{"_id":"KTFKXL5OT5EPRP3LLMTZRDO4BI","additional_properties":{},"type":"text","content":"Fragmentos de esas grabaciones fueron compartidos por la organización en redes sociales en 2024, con el objetivo de concienciar sobre lo que estaba ocurriendo en Gaza. Sin embargo, un reel es breve y se pierde rápido en las profundidades de internet. Cuando las grabaciones se integran en un relato audiovisual como La voz de Hind, se puede generar un impacto emocional de manera más certera."},{"level":2,"_id":"S6P3ZFATT5B3FMBMKFRMNWGGGQ","additional_properties":{},"type":"header","content":"La dramatización se entrelaza con lo real"},{"_id":"AXO4JUAQNFDUZGCEQIHZ4RUDRI","additional_properties":{},"type":"text","content":"Saber que estamos escuchando a la verdadera Hind pedir ayuda, en los últimos momentos de su vida, lo cambia todo. Esta decisión creativa hace que el espectador establezca un vínculo inmediato con la niña y con su historia. Se trata de la clave narrativa del relato y, para la directora de la película, la tunecina Kaouther Ben Hania, contarlo de otra manera no habría tenido sentido."},{"_id":"XSV3H35YVRDNXC4YVJKQY2VQDA","additional_properties":{},"type":"text","content":"Así lo explica la propia cineasta: “Cuando escuché la grabación, lo primero que hice fue llamar a su madre. Estaba de luto, y lo primero que me dijo fue: ‘Quiero que se escuche la voz de mi hija’. Así que, para mí, era una obligación moral honrar su voz”."},{"_id":"BWJJGONLJRGQNF7DG63SZ3AAXI","title":"","type":"link_list","items":[{"image":{"owner":{"id":"semana"},"address":{},"auth":{"1":"29e59259bd3348d85945f5a5bac191c8de9c50d43f2e713e73156cb4f3f536a6"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/XF53OM2IMRCVFAVSDCMQ2YXKGY.jpg","licensable":false,"alt_text":"","credits":{"affiliation":[{"name":"Daniel Valero/JEP","type":"author"}],"by":[{"name":"Daniel Valero/JEP","type":"author","byline":"Daniel Valero/JEP"}]},"subtitle":"","width":1280,"_id":"XF53OM2IMRCVFAVSDCMQ2YXKGY","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/XF53OM2IMRCVFAVSDCMQ2YXKGY.jpg?auth=29e59259bd3348d85945f5a5bac191c8de9c50d43f2e713e73156cb4f3f536a6","keywords":["edición 2272"],"proxyUrl":"/resizer/v2/XF53OM2IMRCVFAVSDCMQ2YXKGY.jpg?auth=29e59259bd3348d85945f5a5bac191c8de9c50d43f2e713e73156cb4f3f536a6","takenOn":"2026-01-05T03:04:26Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/XF53OM2IMRCVFAVSDCMQ2YXKGY.jpg","published":true,"resizeUrl":"/resizer/v2/XF53OM2IMRCVFAVSDCMQ2YXKGY.jpg?auth=29e59259bd3348d85945f5a5bac191c8de9c50d43f2e713e73156cb4f3f536a6","thumbnailResizeUrl":"/resizer/v2/XF53OM2IMRCVFAVSDCMQ2YXKGY.jpg?auth=29e59259bd3348d85945f5a5bac191c8de9c50d43f2e713e73156cb4f3f536a6&width=300","version":0,"originalName":"pintar-el-secuestro-4.jpg","mime_type":"image/jpeg","restricted":false,"galleries":[],"galleryOrder":3},"created_date":"2026-02-06T20:02:46Z","last_updated_date":"2026-02-06T20:02:46Z","height":720},"description":{"_id":"XQAQGYETYVDBDGURAHRJQMQFI4","type":"text","content":""},"_id":"JWKIIA5DI5E6BP6F75TPLV5X4A","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Mario Ayerbe y Consuelo González, o cómo pintar el secuestro y hacer catarsis de un dolor de miles de colombianos","url":"https://www.semana.com/cultura/articulo/mario-ayerbe-y-consuelo-gonzalez-o-como-pintar-el-secuestro-y-hacer-catarsis-de-un-dolor-de-miles-de-colombianos/202600/"}]},{"_id":"SBDJLCLGBRF2VDIQK3TC45JQWQ","additional_properties":{},"type":"text","content":"La hibridación entre realidad y ficción se expande en algunos puntos concretos de la película, cuando también se escuchan las voces de los voluntarios reales, entrelazadas con las voces de los actores que les dan vida. En una de las últimas escenas, además, vemos sus rostros. Omar y Nisreen están siendo grabados con un teléfono móvil mientras hablan con Hind. En un momento dado, la lente de la cámara desenfoca a los actores, y en la pantalla del móvil aparecen los rostros de los verdaderos voluntarios. Esta decisión formal, en un momento de máxima tensión dramática, nos vuelve a recordar que esto es una historia real, incrementando aún más el impacto emocional de lo narrado."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"La Zona","address":{},"syndication":{},"auth":{"1":"98738841503a1b125210ee8b947f334ebb97338b37d847a4c19b7f722a07fb26"},"caption":"Omar y Rana hablando con la niña por teléfono.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/7DTTKBBFEJBNJIQTZQ6GNXHRJE.jpg","licensable":false,"alt_text":"Omar y Rana hablando con la niña por teléfono. 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En la escuela estaba en la clase de las mariposas. Le daba miedo la oscuridad y le encantaba ir a la playa de Gaza. De hecho, quería que pararan las bombas y los disparos para poder volver a jugar en la arena con su familia. Tanto al inicio como al final de la película podemos escuchar el sonido de esas olas del mar que tanto añoraba."},{"_id":"4GWQZW5YQFADTO4EKJN4ZYQYUY","title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Universal Pictures","address":{},"auth":{"1":"138689fd92cc6d6de28fd6c9b6ee006ba5ed4225c7147228b21a0b9e9b718345"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/UU5RYPEWJFF7PC7OAT2B2KQUC4.jpg","licensable":false,"alt_text":"Hamnet / Chloé Zhao","credits":{"affiliation":[{"name":"Universal Pictures","type":"author"}]},"subtitle":"","width":1920,"_id":"UU5RYPEWJFF7PC7OAT2B2KQUC4","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/UU5RYPEWJFF7PC7OAT2B2KQUC4.jpg?auth=138689fd92cc6d6de28fd6c9b6ee006ba5ed4225c7147228b21a0b9e9b718345","proxyUrl":"/resizer/v2/UU5RYPEWJFF7PC7OAT2B2KQUC4.jpg?auth=138689fd92cc6d6de28fd6c9b6ee006ba5ed4225c7147228b21a0b9e9b718345","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/UU5RYPEWJFF7PC7OAT2B2KQUC4.jpg","published":true,"resizeUrl":"/resizer/v2/UU5RYPEWJFF7PC7OAT2B2KQUC4.jpg?auth=138689fd92cc6d6de28fd6c9b6ee006ba5ed4225c7147228b21a0b9e9b718345","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/UU5RYPEWJFF7PC7OAT2B2KQUC4.jpg?auth=138689fd92cc6d6de28fd6c9b6ee006ba5ed4225c7147228b21a0b9e9b718345&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"4238_D025_00854_C.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2026-01-22T13:21:07Z","last_updated_date":"2026-01-22T13:21:07Z","height":1276,"image_type":"photograph"},"description":{"_id":"GE3TBT4DKBGIZPWJZEH4X7JO7E","type":"text","content":""},"_id":"ZHFMCQLAXFCD3GKL6QL7SOMB4A","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"‘Hamnet’, de Chloé Zhao: el vacío del duelo, la catarsis que dio vida a ‘Hamlet’ y el poder de las historias","url":"https://www.semana.com/cultura/articulo/hamnet-de-chloe-zhao-el-vacio-del-duelo-la-catarsis-que-dio-vida-a-hamlet-y-el-poder-de-las-historias/202653/"}]},{"_id":"DYXFTCHFWFEXRLJAW2ASZ4CT7I","additional_properties":{},"type":"text","content":"Cuando nos cuentan esta historia en forma de relato cinematográfico, con técnicas de narrativa audiovisual y utilizando la voz de la propia Hind, los espectadores podemos establecer una conexión emocional mucho más profunda con ella. Así, Hind deja de ser una mera cifra en las estadísticas, una niña más entre las decenas de miles de personas asesinadas en Gaza. Y, gracias al alcance que está teniendo la película, el eco de su voz continúa resonando por todo el mundo."},{"_id":"L3IKCXPB7VCSLFI2KLPVQFTBIU","additional_properties":{},"type":"text","content":"*Profesora de Narrativa Audiovisual, Universitat Internacional de Catalunya."},{"_id":"WFTEANKAWBBI5H6TX34VHMORUM","additional_properties":{},"type":"text","content":"This article is republished from The Conversation under a Creative Commons license. 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Senior y Junior, dos hombres muy viejos, abrieron los ojos en sus respectivas habitaciones en la cuarta planta de un edificio de color verde mar situado en una calle angosta y arbolada no muy lejos de Elliot’s Beach, donde al atardecer, como hacían siempre, los jóvenes se congregarían para llevar a cabo los rituales de la juventud, a escasa distancia de la aldea de los pescadores, que no tenían tiempo para frivolidades. Los pobres eran puritanos tanto de noche como de día. En cuanto a los viejos, tenían sus propios rituales y no precisaban esperar a que cayera la tarde. Con el sol asaeteándolos a través de las persianas, ambos viejos se pusieron trabajosamente en pie y salieron dando tumbos a sus contiguas galerías, los dos al mismo tiempo, como personajes de un cuento antiguo, atrapados en aciagas coincidencias e incapaces de hurtarse a las consecuencias del azar."},{"_id":"ETAPXS6RSFD7XKKVTUFZWCZTHY","additional_properties":{},"type":"text","content":"Se pusieron a hablar casi al momento. Sus palabras no eran nuevas. Se trataba de discursos rituales, saludos al nuevo día, ofrecidos en formato llamada-respuesta, como los rítmicos diálogos o «duelos» de los virtuosos de la música carnática durante las fiestas de cada mes de diciembre."},{"_id":"MDTXZSB44BHPDJDFWKXM3GMQZM","additional_properties":{},"type":"text","content":"–Demos gracias de que somos gente del sur –dijo Junior, entre bostezo y desperezo–. Sureños somos, en el sur de nuestra ciudad en el sur de nuestro país en el sur de nuestro continente. Dios sea loado. Somos gente afable, lenta y sensual, no como esos antipáticos del norte."},{"_id":"YQ4K47HIAFBBREKXZ3F42GNW6U","additional_properties":{},"type":"text","content":"Senior, mientras se rascaba primero la tripa y luego el cogote, le contradijo una vez más. "},{"_id":"NMK3S5GKHVE7FESNIAZNEJEW4E","additional_properties":{},"type":"text","content":"–Primero –dijo–, el sur es algo ficticio; si existe es solo porque la gente ha convenido en llamarlo así. ¡Supón que los hombres hubieran imaginado la Tierra al revés! Entonces seríamos norteños. El universo no entiende los conceptos «arriba» o «abajo»; un perro, tampoco. Para un perro no hay norte ni sur. Y, segundo, tú no eres muy afable de carácter, y cualquier mujer se reiría en tu cara oyéndote decir que eres sensual. 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Y la cuerda que con tal fuerza los sujetaba eran el nombre. Por casualidad –cosa que ellos habían dado en considerar el «destino», o, como lo llamaban más a menudo, una «maldición»–, compartían nombre, un nombre muy largo como tantos en el sur, un nombre que ninguno de los dos se molestaba en pronunciar. Por el hecho de proscribir el nombre, de reducirlo a su inicial, V., hacían invisible la cuerda que los unía, pero eso no significaba que no existiera. Las semejanzas entre ellos iban más allá: ambos tenían la voz aguda, ambos eran de constitución enjuta y estatura media, ambos eran miopes, y, tras muchos años ufanándose en la calidad de sus dientes, ambos habían tenido que rendirse a la humillante inevitabilidad de los dientes postizos; pero era el nombre no utilizado, aquel simétrico V., el Nombre Que No Se Podía Pronunciar, lo que los unía desde hacía decenios."},{"_id":"X2RWCXBYIBGO3BDMVMDXAHFNXI","additional_properties":{},"type":"text","content":"No obstante, cumplían años en días diferentes. Uno era diecisiete días mayor que el otro. Seguramente de ahí vino lo de «Senior» y «Junior», pese a que hacía tanto tiempo que esos apodos estaban en uso que nadie era capaz de recordar quién fue al que se le ocurrió echar mano de ellos. Así pues, se habían convertido en V. Senior y V. Junior para siempre jamás, discutidores hasta la muerte. Tenían ochenta y un años. Si la vejez se consideraba algo así como el crepúsculo de un día que terminaba en el olvido perpetuo de la medianoche, el reloj de ambos señalaba más allá de la undécima hora."},{"_id":"BOU6YIGIRZF4XLTOG6N3R7LZUQ","additional_properties":{},"type":"text","content":"–Tienes una pinta horrorosa –le dijo Junior a Senior, como hacía todas las mañanas–. Parece que no estuvieras esperando otra cosa que morirte."},{"_id":"HTF7AJXXFRDGVEUUVRIC5NBM6M","additional_properties":{},"type":"text","content":"Senior –asintiendo con gesto serio y hablando asimismo conforme a la tradición compartida–, respondió: "},{"_id":"Q7LUGORKZBGXRIYEYTTCS67ANQ","additional_properties":{},"type":"text","content":"–Mejor eso que tener, como tú, pinta de que todavía no has empezado a vivir."},{"_id":"TUZILVSLQ5EFZNQU6ENSDVFXTA","additional_properties":{},"type":"text","content":"Ninguno de los dos dormía bien. Ambos utilizaban camas duras sin almohada, y, tras los párpados cerrados, pensamientos inquietantes discurrían en direcciones opuestas. De los dos, Senior había tenido sin duda una vida más plena. Era el más joven de diez hermanos –varones todos–, todos los cuales habían tenido éxito en la profesión elegida: atletas, científicos, profesores, sacerdotes. Él, Senior, había empezado como campeón universitario de carreras de larga distancia para luego acceder a un cargo importante en la compañía ferroviaria; durante años había viajado en tren, cubriendo decenas y decenas de miles de kilómetros, para asegurarse, y asegurar a las autoridades, de que se estaban manteniendo los debidos niveles de seguridad. Había desposado a una mujer buena y engendrado seis hijas y tres hijos, cada uno de los cuales había resultado ser muy fértil a su debido tiempo, proporcionándole nada menos que treinta y tres nietos Sus nueve hermanos habían procreado un total de treinta y tres hijos más, sus sobrinos y sobrinas, quienes a su vez le habían proporcionado no menos de ciento once nuevos parientes Para muchos hombres, esto habría sido prueba de buena fortuna, pues un hombre bendecido con doscientos cinco familiares era sin duda alguna rico, pero la abundancia había regalado a alguien propenso a la ascesis como Senior una leve pero permanente jaqueca."},{"_id":"UNESBXMLMVHWXCMMJQCDWASQF4","additional_properties":{},"type":"text","content":"–Si yo hubiera sido estéril –le decía a Junior con frecuencia–, qué vida tan apacible habría tenido."},{"_id":"INQTFROQGNEC5LAP4F57NX7J5M","additional_properties":{},"type":"text","content":"Tras jubilarse Senior había entrado a formar parte de un grupo de diez amigos que se reunían a diario para hablar de política, ajedrez, poesía y música en una cafetería Besant Nagar. Varios de sus comentarios sobre dichos temas habían sido publicados en el excelente periódico que se imprimía en la ciudad. Entre sus amigos se contaba el redactor jefe del diario en cuestión, así como otro periodista de la publicación, celebrada figura local, un tanto cabeza loca y dado a la bebida, pero creador de caricaturas políticas maravillosamente grotescas. Luego estaba también el mejor astrólogo de la localidad, que había estudiado para astrónomo pero que acabó convencido de que los auténticos mensajes de los astros no podían llegar por la vía de un telescopio; también un individuo que durante años fuera el encargado de dar el pistoletazo de salida en las muy concurridas carreras de caballos; y así sucesivamente. Senior había disfrutado mucho en su compañía; a su mujer le decía que era una gran cosa para un hombre tener amigos de los que cada día podía aprender algo nuevo. Pero ahora todos estaban muertos. Uno detrás de otro sus amigos habían acabado en el crematorio, y la cafetería que podría haber servido para mantener vivo su recuerdo había sido demolida."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Random House","address":{},"syndication":{},"auth":{"1":"60a56d62a6d42ba89ba005235585b5d675762272ea10ec317c5ce460cd68d36e"},"caption":"'La penúltima hora', de Salman Rushdie, cuenta con la traducción de Luis Murillo Fort. 272 páginas. ","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/5F7HS7UYCVEJXA4SHUTWB6VGB4.jpg","licensable":false,"alt_text":"Salman Rushdie, 'La penúltima hora'","credits":{"affiliation":[{"name":"Random House","type":"author"}]},"subtitle":"Salman Rushdie, 'La penúltima hora'","width":1612,"creditIPTC":"Random House","_id":"5F7HS7UYCVEJXA4SHUTWB6VGB4","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/5F7HS7UYCVEJXA4SHUTWB6VGB4.jpg?auth=60a56d62a6d42ba89ba005235585b5d675762272ea10ec317c5ce460cd68d36e","proxyUrl":"/resizer/v2/5F7HS7UYCVEJXA4SHUTWB6VGB4.jpg?auth=60a56d62a6d42ba89ba005235585b5d675762272ea10ec317c5ce460cd68d36e","link":"","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/5F7HS7UYCVEJXA4SHUTWB6VGB4.jpg","published":true,"resizeUrl":"/resizer/v2/5F7HS7UYCVEJXA4SHUTWB6VGB4.jpg?auth=60a56d62a6d42ba89ba005235585b5d675762272ea10ec317c5ce460cd68d36e","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/5F7HS7UYCVEJXA4SHUTWB6VGB4.jpg?auth=60a56d62a6d42ba89ba005235585b5d675762272ea10ec317c5ce460cd68d36e&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"Portada La penúltima hora.jpg","mime_type":"image/jpeg","alt_text":"Salman Rushdie, 'La penúltima hora'","restricted":false,"template_id":280,"galleries":[]},"created_date":"2026-02-05T16:05:41Z","last_updated_date":"2026-02-05T16:05:41Z","height":2717,"image_type":"photograph"},{"_id":"V7ZNUASKLVB67JYY35SKR7A7UM","additional_properties":{},"type":"text","content":"De los diez hermanos solo quedaba él, y sus cuñadas habían fallecido también tiempo atrás. Incluso su bondadosa cónyuge había muerto, y Senior, ya anciano, había vuelto a casarse, por mediación de agente matrimonial, con una viuda que tenía una pata de palo. Fue una unión de conveniencia para ambos, y ambos quedaron descontentos con la misma. Se vieron atrapados, no en una soledad desdichada sino en una desdichada convivencia. Él la trataba con una irritabilidad que sorprendió a sus hijos y nietos. «Como a mi edad no tenía muchas opciones –le decía, con despecho, a su esposa–, me tocaste tú». Ella se desquitaba desoyendo hasta sus más simples peticiones, incluso si era un vaso de agua, cosa que ninguna persona civilizada debería negarse a dar cuando se le pide. La mujer se llamaba Aarthi, pero él no se dirigía a ella por su nombre ni por un diminutivo o un término cariñoso. Para él siempre era «Mujer» o «Esposa»."},{"_id":"7QCOCEDOUVGVDJWKYITOIJR54M","title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Getty Images / Seix Barral","address":{},"syndication":{},"auth":{"1":"372568572e44832660b43ce88c8ebca5a490e22e5bd32a7aa76990bd784b4e40"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/SHJBGWOS2RC4NGARQL4XVZQ2NM.jpg","licensable":false,"alt_text":"Montaje Arcadia / Getty Images / Seix Barral","credits":{"affiliation":[{"name":"Getty Images / Seix Barral","type":"author"}]},"subtitle":"","width":1600,"creditIPTC":"Getty Images / Seix Barral","_id":"SHJBGWOS2RC4NGARQL4XVZQ2NM","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/SHJBGWOS2RC4NGARQL4XVZQ2NM.jpg?auth=372568572e44832660b43ce88c8ebca5a490e22e5bd32a7aa76990bd784b4e40","proxyUrl":"/resizer/v2/SHJBGWOS2RC4NGARQL4XVZQ2NM.jpg?auth=372568572e44832660b43ce88c8ebca5a490e22e5bd32a7aa76990bd784b4e40","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/SHJBGWOS2RC4NGARQL4XVZQ2NM.jpg","published":true,"resizeUrl":"/resizer/v2/SHJBGWOS2RC4NGARQL4XVZQ2NM.jpg?auth=372568572e44832660b43ce88c8ebca5a490e22e5bd32a7aa76990bd784b4e40","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/SHJBGWOS2RC4NGARQL4XVZQ2NM.jpg?auth=372568572e44832660b43ce88c8ebca5a490e22e5bd32a7aa76990bd784b4e40&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"JANNE ABRE.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2026-01-23T15:41:18Z","last_updated_date":"2026-01-23T15:41:18Z","height":900,"image_type":"photograph"},"description":{"_id":"PCLICLFSDRGF7G3UUONPUUVQAU","type":"text","content":""},"_id":"DPEB2MEYZ5BRDAYQEVUUSDKJXU","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Janne Teller: “El mundo cerró los ojos ante lo ocurrido en Palestina, ¿cómo pedir que no se toque Groenlandia?”","url":"https://www.semana.com/cultura/articulo/janne-teller-el-mundo-cerro-los-ojos-ante-lo-ocurrido-en-palestina-como-pedir-que-no-se-toque-groenlandia/202629/"}]},{"_id":"WTND3AGG5RAVLCICOWW25SQJSE","additional_properties":{},"type":"text","content":"Soportó los múltiples problemas de salud de los muy viejos: las penurias diarias de tripas y uretra, de espalda y rodillas, la mirada cada vez más lechosa, los problemas respiratorios, las pesadillas nocturnas, el lento declinar de la máquina blanda. Sus días quedaron reducidos a una tediosa inactividad. En tiempos, para pasar el rato, había dado clases de matemáticas, de canto, de los Vedas. Pero sus alumnos se habían marchado. Solo le quedaba la mujer de la pata de palo, el televisor que veía borroso… y Junior No era ni mucho menos suficiente Cada mañana se lamentaba de no haber muerto durante la noche. De los doscientos cinco miembros más jóvenes de la familia una buena cantidad estaba ya criando malvas. Había olvidado exactamente cuántos de ellos, y sus nombres, inevitablemente, se le escapaban. De los que aún vivían muchos iban a verle y le trataban con dulzura y preocupación. Cuando él decía que estaba listo para morir, cosa que ocurría a menudo, sus rostros adquirían expresiones dolidas, sus cuerpos parecían derrumbarse o tensarse, según la naturaleza de cada cual, y entonces le hablaban con palabras de ánimo y, por supuesto, muy compungidos, de lo valioso de una vida tan llena de amor. Pero a él el amor, como todo lo demás, empezaba a fastidiarle. La suya, pensaba, era una familia de mosquitos, un ruidoso enjambre, y el amor era su molesta picadura."},{"_id":"IRGOUWLVCFAMPJ4NKFTDGGS65U","additional_properties":{},"type":"text","content":"–Lástima que no hayan inventado también una espiral para ahuyentar a los parientes –le dijo a Junior–. O una mosquitera para que no se te acerquen a la cama…"},{"_id":"R6AOUQA3CBGGRPRKGHGCIRODIQ","title":"","type":"link_list","items":[{"image":{"owner":{"id":"semana"},"address":{},"auth":{"1":"652375ca9aa0f66499e3d1866ae3911cd509420c96edcc80a8d4a9a1a5750390"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/SC4B2OFO6FF3DBWZXPG62MDLVE.jpg","licensable":false,"alt_text":"","credits":{"affiliation":[{"name":"Pi Frisk/DN/TT News Agency vÍa AFP/ Random House","type":"author"}],"by":[{"name":"Pi Frisk/DN/TT News Agency vÍa AFP/ Random House","type":"author","byline":"Pi Frisk/DN/TT News Agency vÍa AFP/ Random House"}]},"subtitle":"","width":1280,"_id":"SC4B2OFO6FF3DBWZXPG62MDLVE","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/SC4B2OFO6FF3DBWZXPG62MDLVE.jpg?auth=652375ca9aa0f66499e3d1866ae3911cd509420c96edcc80a8d4a9a1a5750390","keywords":["edición 2271"],"proxyUrl":"/resizer/v2/SC4B2OFO6FF3DBWZXPG62MDLVE.jpg?auth=652375ca9aa0f66499e3d1866ae3911cd509420c96edcc80a8d4a9a1a5750390","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/SC4B2OFO6FF3DBWZXPG62MDLVE.jpg","published":true,"resizeUrl":"/resizer/v2/SC4B2OFO6FF3DBWZXPG62MDLVE.jpg?auth=652375ca9aa0f66499e3d1866ae3911cd509420c96edcc80a8d4a9a1a5750390","thumbnailResizeUrl":"/resizer/v2/SC4B2OFO6FF3DBWZXPG62MDLVE.jpg?auth=652375ca9aa0f66499e3d1866ae3911cd509420c96edcc80a8d4a9a1a5750390&width=300","version":0,"originalName":"es-mi-novela-1.jpg","mime_type":"image/jpeg","restricted":false,"galleries":[],"galleryOrder":0},"created_date":"2026-01-30T17:38:50Z","last_updated_date":"2026-01-30T17:38:50Z","height":720},"description":{"_id":"OGLO6G3L7FD33DIRU7MMCJKT4Q","type":"text","content":""},"_id":"FGMXEHMBKZHWXMOWST2PRZLHII","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"“Es mi novela más oscura y divertida”: Daniel Kehlmann habla con ARCADIA sobre ‘El director’ y el cine en el Reich","url":"https://www.semana.com/cultura/articulo/es-mi-novela-mas-oscura-y-divertida-daniel-kehlmann-habla-con-arcadia-sobre-el-director-y-el-cine-en-el-reich/202600/"}]},{"_id":"O6XWUH76YFBSJOPURLFSYMRWIQ","additional_properties":{},"type":"text","content":"Para Junior su vida había sido una decepción. Él no esperaba ser alguien común y corriente. Sus padres le habían consentido mucho y le habían inculcado un sentido de destino y de privilegio, pero él había resultado ser un individuo mediocre, condenado por unos logros académicos de poca monta a una vida de empleado administrativo en las oficinas de la compañía del agua. Sus no mediocres sueños, de largos viajes por carretera, línea férrea o avión, habían quedado atrás; pero, pese a ello, no era una persona infeliz. Descubrir que se es víctima del mal incurable de la mediocridad puede intimidar a cualquiera, pero él, gracias a su vivacidad, puso al mal tiempo buena cara, siempre con una sonrisa a punto para todos."},{"_id":"FHT6E2547ZCAVKRCTDGG55GLAE","additional_properties":{},"type":"text","content":"Aun así, a pesar de su aparente entusiasmo por la vida, en la sección de energía parecía haber alguna deficiencia. Junior nunca tenía prisa, pero es que andaba muy despacio, así lo había hecho desde los ya remotos años de su juventud. Abominaba del ejercicio físico y sentía cierta debilidad por hacer bromas bienintencionadas a expensas de quienes se dedicaban a ello. Tampoco se interesaba por la política ni por la omnipresente cultura popular del cine y la música que generaba. En lo importante, Junior nunca había sido partícipe del desfile de la vida. No se había casado. Los grandes acontecimientos de ocho décadas habían logrado tener lugar sin que él aportara ni un solo granito de arena. Había contemplado sin inmutarse cómo caía un imperio y nacía una nación, evitando siempre expresar su opinión sobre el particular. Era un hombre a una mesa de trabajo pegado. Para él mantener el flujo de agua de la municipalidad era ya desafío suficiente. Sin embargo, daba toda la impresión de ser una persona para quien vivir continuaba siendo algo placentero. Dado que era hijo único, eran pocos los parientes que podían velar por él en su ancianidad. La numerosísima familia de Senior lo había adoptado mucho tiempo atrás, le llevaban merienda y se ocupaban de sus necesidades."},{"_id":"3URBXIXFFBB6DOSTQBKSHTGCPI","additional_properties":{},"type":"text","content":"El tema de la pared divisoria entre las viviendas contiguas de Senior y Junior salía a veces a relucir durante las visitas de la inmensa parentela del primero: si no estaría bien tirarla abajo para que los dos viejos pudieran compartir la vida más fácilmente. Pero sobre este asunto, tanto Junior como Senior opinaban lo mismo."},{"_id":"DHTZ2TXZHJHKVG7O3TJ7RUBLEE","additional_properties":{},"type":"text","content":"–¡Ni hablar! –decía Junior."},{"_id":"UIV6EMJKFZB3NFRNBUOB3F3EQE","additional_properties":{},"type":"text","content":"–Eso ni muerto –apostrofaba Senior."},{"_id":"72VMBIRMGRF5TJ2HJJ2RXHACQM","additional_properties":{},"type":"text","content":"–Y una vez muerto, ya me diréis para qué tanto lío –decía Junior, como si ello zanjara la cuestión."},{"_id":"ZG6EMP6Q7FDFLPT3J2JQRQHWXY","additional_properties":{},"type":"text","content":"La pared de marras se quedó donde estaba."},{"_id":"3MAJRIMQ5RG5HC2VRP46Z36NY4","additional_properties":{},"type":"text","content":"Junior tenía un amigo veinte años más joven que él, un hombre llamado D’Mello, colega suyo de los tiempos de la compañía del agua D’Mello se había criado en otra ciudad, Mumbai, la legendaria ciudad del caos, urbs prima in Indis, y había que hablarle en inglés. Siempre que D’Mello iba a visitar a Junior, Senior se ponía de morros y se negaba a hablar pese a que, interiormente, estaba orgulloso de su pericia en lo que él llamaba «la lengua número uno del mundo». No quería admitir los motivos de su enfurruñamiento, su doble resentimiento, primero por la intromisión en el ritmo de su belicosa intimidad con Junior, y en segundo lugar por la irrupción a sus años de tanta vitalidad, cosa que le recordaba a aquellos amigos parlanchines fallecidos tiempo atrás. Junior lo comprendía, y procuraba que Senior no se diera cuenta de la ilusión con la que esperaba las visitas de D’Mello, porque este exudaba una suerte de brío cosmopolita que Junior encontraba estimulante. D’Mello siempre venía con historias que contar, unas veces eran quejas airadas por injusticias contra los pobres en un suburbio de Mumbai, otras eran graciosas anécdotas de los personajes que se solazaban en el Wayside Inn, el famoso bar de Mumbai en la zona de Kala Ghoda, así llamada por una ya desaparecida estatua ecuestre, «el barrio del Caballo Negro del que el caballo negro ha sido desterrado» (*Desde el momento en que ocurrieron estos hechos, ha vuelto un caballo negro, pero sin su jinete colonialista). D’Mello se enamoraba de estrellas de cine (a distancia, naturalmente) y aportaba pormenores escabrosos sobre la matanza llevada a cabo por un loco en el barrio de Trombay «¡Y el malhechor todavía anda suelto!», exclamaba tan feliz. Su conversación estaba siempre salpicada de nombres maravillosos Worli Sea Face, Bandra, Hornby Vellard, Breach Candy, PaliHill Esos lugares sonaban absolutamente más exóticos que las prosaicas localidades a que Junior estaba acostumbrado: Besant Nagar, Adyar, Mylapore."},{"owner":{"id":"semana"},"copyright":"2024 David Levenson","address":{"street_address":"Cliveden House","locality":"Windsor","region":"England"},"auth":{"1":"2f57609f910b9f837e2ef5ba2a53a569dbb97df643be778846687770d0eb4dde"},"caption":"\"Rushdie regresa en plena y fascinante forma\", asegura Booklist.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/XGGWEOA4LVHEJLMUQGVO7H2PLM.jpg","licensable":false,"alt_text":"","credits":{"affiliation":[{"name":"getty images","type":"author"}],"by":[{"name":"getty images","type":"author","byline":"getty images"}]},"subtitle":"Cortar el trauma_1","width":1000,"_id":"XGGWEOA4LVHEJLMUQGVO7H2PLM","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/XGGWEOA4LVHEJLMUQGVO7H2PLM.jpg?auth=2f57609f910b9f837e2ef5ba2a53a569dbb97df643be778846687770d0eb4dde","iptc_source":"Getty Images Europe","iptc_job_identifier":"776206967","keywords":["edición 2219","bestof","topix"],"proxyUrl":"/resizer/v2/XGGWEOA4LVHEJLMUQGVO7H2PLM.jpg?auth=2f57609f910b9f837e2ef5ba2a53a569dbb97df643be778846687770d0eb4dde","link":"","takenOn":"2024-09-21T05:00:00Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/XGGWEOA4LVHEJLMUQGVO7H2PLM.jpg","published":true,"resizeUrl":"/resizer/v2/XGGWEOA4LVHEJLMUQGVO7H2PLM.jpg?auth=2f57609f910b9f837e2ef5ba2a53a569dbb97df643be778846687770d0eb4dde","thumbnailResizeUrl":"/resizer/v2/XGGWEOA4LVHEJLMUQGVO7H2PLM.jpg?auth=2f57609f910b9f837e2ef5ba2a53a569dbb97df643be778846687770d0eb4dde&width=300","version":0,"originalName":"cortar-el-trauma-1.jpg","mime_type":"image/jpeg","alt_text":"","restricted":false,"galleries":[],"galleryOrder":0,"iptc_title":"Contributor"},"created_date":"2025-01-17T18:56:39Z","last_updated_date":"2025-01-17T18:56:39Z","slug":"2172645186","height":530},{"_id":"LPFNQJJFHJF4PCBD7MA26GBF54","additional_properties":{},"type":"text","content":"La historia más desgarradora de cuantas D’Mello contaba de Mumbai era la del gran poeta de la ciudad, que había sucumbido a la enfermedad de Alzheimer. El poeta seguía yendo a pie cada día a su despacho infestado de revistas sin saber por qué iba allí. 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