TheCook...AnatomíaFilm

THE THIEF, THE
COOK, HIS WIFE
& HER LOVER
Peter Greenaway (1989)
anatomía de un film | lookbook & metamatriz

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Laura Arango
Juliana Monsalve
Valentina Perez
Maria Paula Romero
Metaficciones
2021-02

CONTENIDO

The cook, the thief, his wife & her lover Peter Greenaway (1989)
INTRODUCCIÓN
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una.
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una Este
espacio representa la conexión del ser humano
con su lado más natural: un espacio donde
la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más humano.
Georgina se suelta el pelo, se viste con
prendas alejadas de la idea de elegancia, y
solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
| 07 |
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 08 |
SINOPSIS
Recurre en el restaurante de clase alta de
Albert Spica “El Holandés”, es un lugar donde
abusa de su poder con violencia. Es un espacio
que visita frecuentemente con su esposa,
Georgina la cual al ser víctima de la violencia
de Spica empieza una relación secreta con uno
de los clientes del restaurante con la complicidad
por el chef francés, que dirige la cocina,
junto a su equipo. Ante este descubrimiento
surge una violencia y venganza de parte de
Spica, lo cual desencadena una rebeldía del
carácter de Georgina
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
STATEMENT
La insaciabilidad llevada a su extremo
The Cook, the Thief, His Wife & Her Lover es
una exposición de la naturaleza humana y el
duelo entre lo salvaje y lo instintivo. La teatralidad
interpreta un rol esencial en relación a
la construcción de los espacios, donde entra
en juego la iluminación, el uso del color y los
movimientos. En primer lugar, el uso del color
construye un mindset diferente de los personajes,
pues según el color utilizado en la escena,
se generan sensaciones específicas. Estos
generan ciertas acciones en los personajes, lo
que hace que el espectador tenga impresiones
premeditadas sobre lo que esta pasando. El
uso del color entra a la escena como un desafío
a la verdadera naturaleza del personaje, lo
cual revela que todos están sedientos por algo
que no pueden tener con total libertad. En segundo
lugar, el uso de props de manera burda,
genera exageración y asco, exaltando la naturaleza
de los objetos a lo largo de la película.
En tercer lugar, los movimientos de la cámara
establecen un recuadro que evidencia que los
escenarios y los personajes están en función
de un publico. El movimiento horizontal de
un lado a otro muestra esta transición brusca
entre espacios, que claramente no se conjugan
entre sí. A partir de estos tres factores mencionados,
es posible descifrar la inexistencia de
un punto medio: la narración ocurre desde los
diferentes extremos, los espacios son extravagantes
y los personajes, la actuación y los
elementos son fruto del duelo entre opuestos.
Hay un paralelo constante entre el entorno y el
interior del personaje, específicamente cuando
la comida que inicialmente estaba en perfecto
estado, se pudre y desvela un reflejo de la
decadencia humana. Como respuesta a todo
lo que ocurre en la película, los personajes
revelan la naturaleza humana desde lo mas
salvaje y visceral.
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Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
FICHA
TÉCNICA
Título: El cocinero, el ladrón, su mujer y su
amante
Año: 1989
País: Francia, Reino Unido
Género: Drama, Comedia negra
Clasificación: EEUU - R
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Dirección: Peter Greenaway
Producción: Pascale Dauman
Guión: Peter Greenaway
Música: Michael Nyman
Fotografía: Sacha Vierny
Montaje: John Wilson
Vestuario: Jean-Paul Gaultier
Protagonistas:
Richard Bohringer como Richard Borst (chef)
Michael Gambon como Albert Spica (ladrón)
Helen Mirren como Georgina Spica (esposa)
Alan Howard como Michael (amante)
Productora: Maxeda
Distribución: Stephen Woolley, Vudu
Anatomia de un film

Peter Greenaway (1989)
PETER
GREENAWAY
Director
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Las películas de Greenaway se destacan por la
influencia de la pintura renacentista, barroca
y flamenca. Se distinguen por la composición
estética sensorial, el juego de la iluminación,
los contrastes del vestuario, la presencia de
la desnudez, y la relevancia que se le da a la
arquitectura y a los objetos presentes, entre
estos la naturaleza.

The cook, the thief, his wife & her lover
Peter Greenaway (1989)
| 012 |
Van Os y Roefls han trabajado como socios en
diversas producciones. Van Os se destaca por
la presencia que tiene el barroco y onírico en
el diseño cinematográfico. Utiliza esto como
su punto de partida y crea narrativas a través
del manejo de la luz, el color y las texturas. En
el caso de Roefls, se distingue por su experiencia
adicional como director en la década
de los 80’s, lo cual brinda apoyo a su proceso
como diseñador.
BEN VAN OS &
JAN ROELFS
Diseñadores de producción
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
JEAN PAUL
GAULTIER
Diseñador de vestuario
El diseñador se destaca por establecer sus
propios códigos estilísticos en un corto periodo
de tiempo y a partir de estos redefinir las
categorías sociales. Sus pasarelas en conjunto
con las prendas son todo un performance
que reflexiona sobre la sociedad y se redirige
hacia los temores del público. Sus diseños han
abierto el campo de la moda que cuestiona
la sexualidad y los roles de género. Se conoce
como el Enfant terrible, al comunicar las
problemáticas sociales por medio del acto de
vestir, y a la vez tomar inspiraciones desde la
astrología, los símbolos religiosos, los diseños
celtas, la caligrafía, los tatuajes y la indumentaria
regional para hacerlo.
| 013 |
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
LA BIBLIOTECA
espacio para la introspección
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
iluminación predeterminada. El espacio es
y existe por si mismo, y son los objetos los
responsables de conceder el juego cromático.
Este lugar se sale de los cánones estable- cidos
en relación al movimiento: la narración del
espacio ocurre de diferentes formas (horizontal
o vertical). Es evidente que este espacio no
hace parte del recuadro establecido por los
otros espacios: no es muy claro como llegan a
él, pero si hay un traslado de la escena cuadriculada
que ocurre en el restaurante.
| 015 |
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 016 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
narrativa del color
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 018 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
bodegón de la realidad
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 020 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
de lo vivo a lo grotesco
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 022 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
los excesos
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
Micheal
| 024 |
Michael es un personaje guiado por la razón,
por los sentimientos humanos más puros y
sinceros. Dentro del espacio, está en su zona
de comfort, donde no tiene que responderle a
nadie ni dar explicaciones de su forma de ser.
Los libros en este espacio muestran la pasión
de Michael por la lectura. Su traje café en
cuanto al cuadro cro- mático, combina con el
espacio de la biblioteca. Sin embargo, no hay
fusión entre este traje elegante y la forma en la
que los objetos están acomodados dentro de la
biblioteca: el traje entra en duelo desde su racio-
nalidad, con la forma espontánea en la que
se llevan a cabo las escenas en la biblioteca.
Personajes

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 026 |
Georgina,
sumisa
Las personas sumisas se caracterizan por
tener una autoestima deficiente y por presentar
problemas signi- ficativos a la hora de
relacionarse de una manera sana y madura.
Georgina viaja entre los espacios guiados por
la razón y los espacios guiados por la pasión.
En la biblioteca, entra en juego su forma de
ser y sed por sentirse viva. Se deja llevar por
el amor de Michael y muestra un lado de su
personalidad que nunca se había atrevido a
mostrar: el lado espontáneo que le permite
usar prendas fuera de los cánones establecidos
por su esposo y su mundo. Se suelta el
pelo, se sienta a leer y toma champaña en
su ropa de baño. A lo largo de la película, es
posible notar la diferencia entre la Georgina
presentada por Mr.Spica y la versión más libre
y pasional, Georgie.
Personajes

The cook, the thief, his wife & her lover Peter Greenaway (1989)
Richard,
solo un cocinero
| 028 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
Personajes

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 030 |
Metamatriz

The cook, the thief, his wife & her lover Peter Greenaway (1989)
HIPERBOLIZACIÓN MINIMIZACIÓN SUBVERSIÓN
COLOR
TEXTURA
ESPACIOS
| 031 |
OBJETOS
VESTUARIO
MAQUILLAJE
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 032 |
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
EL BAÑO
pureza quebrada
Un espacio que representa lo más puro del ser
humano. Esa pureza es representada por la
esterilidad del espacio, lleno de rectas y curvas
perfectas, donde el color blanco es el unico
color usado.
Es en medio de este espacio privado donde
se encuentra con los deseos y emociones más
fuertes del ser, casi instintivas, sin razón y sin
control. Es aquí donde el espacio comienza
ha mancharse de rojo. Rojo de pasión, en ese
primer encuentro con el amante, y rojo de ira y
celos.
| 033 |
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 034 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
narrativa del color
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 036 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
bodegón de la realidad
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 038 |
Este espacio representa la conexión del ser
humano con su lado más natural: un espacio
donde la razón se une con la pasión y los personajes
dejan ver su lado oculto, su lado más
humano. Georgina se suelta el pelo, se viste
con prendas alejadas de la idea de elegancia,
y solo deja que su naturaleza se muestre. Al ser
un espacio de escape de esta realidad cruda y
violenta, este fluye con la naturaleza de Michael
que tanto era criticada por los demás.
La situación cromática cambia, no hay una
de lo vivo a lo grotesco
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 040 |
Georgina,
pasional
Durante esta primera parte del film, es donde
vemos una Georgina muy pasiva, casi que se
confunde con el espacio por los colores que
usa en el vestuario. Esta casi que resignada
con su vida y se deja llevar.
Es en esa escena del baño donde podemos
ver esa pasividad quebrantarse. Aquí comienza
un Georgina que se deja llevar por
las pasiones, casi que de forma inocente, sin
pensar. Todo pasa por instinto y por deseo
puro y casi que animal.
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 042 |
Metamatriz

The cook, the thief, his wife & her lover Peter Greenaway (1989)
HIPERBOLIZACIÓN MINIMIZACIÓN SUBVERSIÓN
COLOR
TEXTURA
| 043 |
ESPACIOS
OBJETOS
VESTUARIO
Anatomia de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
EL RESTAURANTE
el deseo viseral
El espacio del restaurante representa el deseo
carnal, es el lugar donde inicialmente se
gestan todas las acciones y emociones guiadas
por lo que viene del interior del cuerpo, las
viseras. Es por esto que acá inicia el amorío entre
Georgina y Michele, donde se intercambian
las primeras miradas. A la vez evoca las pasiones,
es decir sentimientos vehementes, como
la venganza. Así que es justo que la venganza
final finalice en este espacio. El color, el exceso
de objetos y texturas suaves están pensados
en función de un espacio caracterizado por lo
ostentoso. Pues este mundo de las apariencias,
donde solo se muestra la superficie, esconde
las realidades, los sentimientos y las acciones
que los personajes llevan acabo en los otros
espacios del film.
| 045 |
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 046 |
El color característico de este espacio es el
rojo, es un rojo que evoca directamente a las
pasiones y los sentimientos, oscuros mas que
románticos. El tono de este es un rojo profundo,
e incluso se va oscureciendo mientras
avanza el film o en escenas de agresión explicita,
en donde la luz roja inunda la atmósfera.
Este rojo es un índice de las maldades que se
están gestando, un abrebocas, pues su exceso
también nos distrae desde lo ostentoso y su
vibración cromática.
narrativa del color
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 048 |
El bodegón esta completamente presente y
explicito en este espacio, en donde los protagonistas
están dispuestos entorno a un mesa y
sus objetos. En este caso todo gira al rededor
del acto de cenar, en donde la comida, el vestuario
de los personajes y los utensilios están
perfectamente puestos, casi como si estuvieran
modelando, como una escena que constantemente
esta siendo curada. En donde el caos
también es un momento de espectáculo. Esto
responde directamente al carácter ostentoso y
performático del restaurante.
bodegón de la realidad
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 050 |
Desde la comida que se presenta en los platos
y empatado, se empieza a tornar macabro el
acto de comer y se hace explicita la naturaleza
muerta, alimentarse de un ser vivo. Esta mirada
grotesca hacia la comida prepara es uno de los
elementos utilizado para mostrar ese oscurecimiento
del rojo, de las pasiones vehementes,
que se empiezan a mostrar en el espacio.
de lo vivo a lo grotesco
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 052 |
En el restaurante los excesos están directamente
ligados a toda la parafernalia necesaria al
rededor del acto de cenar. Al mismo tiempo el
exceso de textura de tércielo y de mármol hace
referencia a lo ostentoso, lo lujoso y los superficial
como una manera de camuflar las acciones
y los sentimientos de los personajes. Dentro de
este espacio que al mismo tiempo es un escenario,
un espectáculo, observado por los personajes
entre sí hasta el cuadro mismo.
los excesos
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
Spica,
codicioso
| 054 |
Durante la primera parte de la film, Spica se
presenta como un personaje codicioso, codicioso
por diferentes aspectos de la vida.
Personajes

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 056 |
Metamatriz

The cook, the thief, his wife & her lover Peter Greenaway (1989)
HIPERBOLIZACIÓN MINIMIZACIÓN SUBVERSIÓN
COLOR
TEXTURA
ESPACIOS
| 057 |
OBJETOS
VESTUARIO
MAQUILLAJE
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
LA COCINA
perversidad humana
La cocina se vuelve un lugar donde todo es
permitido. Los deseos y pensamientos más
perversos, tienen un lugar para existir y ser.
Tanto el color como las texturas usadas, solo
realtan y apoyan esta idea de la decadencia
humana: desde las texturas de ollas oxidadas,
un piso y unos muebles acabados casi que sucios,
conjuntos de comida que terminan siendo
desagradables. Es en la cocina donde se da el
adulterio, actos de violencia, y finalmente la
venganza de Georgina.
| 059 |
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 060 |
Así como en el resto de espacios, la cocina
escoge un color característico. En este caso,
la perversidad que se desarrolla en ella, se
ve de color verde. Desde los mesones y el
piso, pasando por las ollas y la comida, hasta
la iluminación, podemos ver cómo este color
se hace explícito en cada uno de los elementos
del lugar. Este es un verde acabado, casi
sucio, tiene tintes de gris, amarillo y cobre y se
hace evidente en el desgaste, la oxidación o
la pudrición de la comida, evidenciando así la
misma perversidad del espacio.
narrativa del color
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 062 |
Los cuadros barrocos lograron retratar las
duras condiciones del trabajo en la cocina. La
brutalidad del trabajo, con camisones sucios, la
repartición de labores y las grandes cantidades
de comida e ingredientes. Es desde este referente
cómo se empieza a construir esa cocina
perversa que se ve en el film. Desde ese tinte
verde, se ve esa miseria humana, o ese infierno
terrenal que se vive tras las puertas de la
cocina.
bodegón de la realidad
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 064 |
La comida se vuelve el elemento principal
para mostrar este principio en el espacio de la
cocina. Se muestra desde las mismas texturas
de la comida cruda, el proceso de preparación
y el terminado que se le da a los platos terminados.
Se hace una relación entre la naturaleza
humana y la comida, mostrando esa transición
de los pasional a lo perverso (en las acciones
de Georgina y Richard) mediante la descomposición
de la misma comida en el transcurso de
la historia.
de lo vivo a lo grotesco
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 066 |
Los excesos son un recurso esencial para el espacio
de la cocina. Se muestra una cantidad desmesurada
de cada uno de los elementos que se
encuentran ahí: Frutas, panadera, vajillas, ollas,
etc. Se vuelven casi que montañas interminables
de elementos, que solo hacen que el espacio se
vuelva abrumador. Este exceso de elementos,
también se vuelve complice de la perversidad de
la cocina ya que se vuelve refugio de la infidelidad
y opresor de los trabajadores.
los excesos
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
Georgina,
vengadora
| 068 |
Con el comienzo de su amorio, Georgian
comienza a cambiar, deja de ser un ser pasivo
dentro de la hisotira y comienza a tomar
cargo de sus propias acciones. Hace todo lo
posible para tener esos encuentros con su
amante y lo hace con rabia hacia su marido.
Su ropa comienza a volverse negra, haciendo
que deje de camuflarse en los espacios y
sobre salga.
Personajes

The cook, the thief, his wife & her lover Peter Greenaway (1989)
Richard,
justiciero
| 070 |
El chef se vuelve un poco la pureza dentro
de la perversion. Su vestido blanco, siempre
haciendo que sobresalga en el espacio de la
cocina. El tiene un amor puro por lo que hace.
Al mismo timepo comienza a ser el confidente
y protector de Georgina, es en este rol, donde
esa pureza comienza a mancharse. Se usa el
mismo recurso de luz roja, que rompe / invade/
mancha esa pureza blanca. Pero los actos de
maldad que comete Richard, es por el cariño
que tiene por Georgina que se junta con la
rabia que le tiene al señor Spica.
Personajes

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 072 |
Metamatriz

The cook, the thief, his wife & her lover Peter Greenaway (1989)
HIPERBOLIZACIÓN MINIMIZACIÓN SUBVERSIÓN
COLOR
TEXTURA
ESPACIOS
| 073 |
OBJETOS
VESTUARIO
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
EL PARQUEADERO
reflejo de lo podrido
El parqueadero se vuelve un lugar donde la
violencia es permitida, una zona abierta en el
exterior del restaurante donde ocurren varios
actos violentas por parte de los personajes
principalmente por parte de Spica. Se convierte
un lugar donde este personaje se puede
desquitar de sus emociones junto a un grupo
de hombres. Todas las escenas en el exterior
ocurren de noche por lo cual predomina la
falta de luz y los tonos azules que se utilizan.
| 075 |
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 076 |
Como se presenta en el resto de los espacios,
en el parqueadero se destaca un color característico.
En este caso, lo tenebroso y violento
del parqueadero al igual que el reflejo de lo
podrido es el color azul, este aunque sin mucho
brillo, es un azul pigmentado casi industrial
. El tono utilizado en este espacio varía
según el tiempo en el que se desarrolla el film
y el tipo de iluminación que se encuentre en el
espacio, ya que al ser un espacio de violencia
hace uso de tiniebla y poca iluminación para
reflejar ese sentimiento. Desde el ambiente,
a los camiones, a los perros se le puede ver
cómo esta iluminación azul crea una atmósfera
que envuelve la escena completamente.
narrativa del color
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 078 |
Enfocándose en los bodegones barrocos se
logra retratar las características de la comida
que se almacenaba en el parqueadero, al igual
que los actos de violencia por parte de Spica y
su grupo principalmente. Con estas piezas de
arte se representa la brutalidad, lo podrido y lo
sucio del parqueadero.
bodegón de la realidad
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 080 |
Como se menciona en los anteriores principios
rectores en el parqueadero predomina lo
podrido, tanto en el aspecto humano como la
violencia, la tortura, como la comida acumulada
y descompuesto. Lo podrido se muestra a
través de texturas desde el pavimento mojado,
el cuerpo humano violentado, los perros
violentos hambrientos, los camiones llenos de
comida pútrida. Por ejemplo en un camión se
encuentran productos de mar descompuestos
y personas comiendo este contenido pútrido
de una manera grotesca y salvaje.
de lo vivo a lo grotesco
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 082 |
El parqueadero es un espacio donde se evidencian
muy bien los excesos, sin embargo de
una manera pasiva, por ejemplo en el parqueadero
como se menciona anteriormente se
genera un espacio de violencia, de lo carnal
y lo salvaje que es mostrado de una manera
excesiva. Es decir la violencia es excesivamente
violenta, grotesca y turtuoso. Dentro de los
camiones se puede encontrar una cantidad
desmesurada de comida tipos de carne podrida,
una encima de otra, mostrando así otro
tipo de exceso de lo pútrido.
los excesos
Principios rectores

The cook, the thief, his wife & her lover Peter Greenaway (1989)
Spica,
posesivo
| 084 |
Con el descubrimiento del amorio de Georgina,
Spica cegado por el sentimiento de traición
y su rabia decide vengarse de ellos. Abrumado
por estas emociones el personaje de Spica
empieza a ser violento y posesivo.
Personajes

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 086 |
Metamatriz

The cook, the thief, his wife & her lover Peter Greenaway (1989)
HIPERBOLIZACIÓN MINIMIZACIÓN SUBVERSIÓN
COLOR
TEXTURA
| 087 |
ESPACIOS
OBJETOS
VESTUARIO
Anatomía de un film

The cook, the thief, his wife & her lover Peter Greenaway (1989)
| 089 |
Anatomia de un film
CONCLUSIÓN
La película es la representación de un duelo
entre la verdadera cara del ser humano y la
cara que desea mostrar. Las escenas muestran
este contraste y como constantemente cada
personaje está luchando contra su propia
realidad: la pasión que sienten y la razón que
no los permite ser. La situación cromática, el
vestuario, el encuadre y los objetos intensifican
las escenas y dan sentido a lo que ocurre sin
necesariamente ser mencionado.

THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \
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THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \ THE THIEF, THE COOK, HIS WIFE & HER LOVER \

anatomía de un film | lookbook & metamatriz
THE THIEF, THE
COOK, HIS WIFE
& HER LOVER