{"id":9722,"date":"2026-05-13T11:00:00","date_gmt":"2026-05-13T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/human-traffic\/"},"modified":"2026-11-09T07:14:59","modified_gmt":"2026-11-09T06:14:59","slug":"human-traffic","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/peliculas\/human-traffic\/","title":{"rendered":"Human Traffic"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Un fin de semana en Cardiff, con la pista dance de finales de los 90<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">La pel\u00edcula empieza un viernes que ya est\u00e1 en marcha. Durante dos d\u00edas, Cardiff se organiza en torno a cinco amigos que ya han decidido que la semana fue un error, y el club es el \u00fanico sitio en el que a\u00fan conf\u00edan. <em>Human Traffic<\/em> (1999), de Justin Kerrigan, pasa cuarenta y ocho horas con Jip, Lulu, Koop, Nina y Moff &#8211; John Simm, Lorraine Pilkington, Shaun Parkes, Nicola Reynolds y Danny Dyer &#8211; hablando m\u00e1s r\u00e1pido de lo que piensan, odiando sus trabajos y tratando la pista como ayuda mutua en lugar de un problema moral. La pel\u00edcula rechaza la lecci\u00f3n. Quiere el ambiente, los locales y el lunes que ya espera en el pasillo.<\/p>\n<p style=\"text-align: justify;\">Kerrigan escribi\u00f3 el guion apenas salido de la adolescencia y filma su ciudad sin convertirla en una postal del vicio. Pubs, colas, ba\u00f1os, el camino de vuelta por St Mary Street: lugares, no met\u00e1foras pegadas. Lo que la pel\u00edcula entiende, y lo que filmes m\u00e1s severos sobre los mismos a\u00f1os suelen perder, es que el fin de semana era una forma de cuidado tanto como una qu\u00edmica. La gente se cuidaba en las pistas porque el resto del calendario no lo hac\u00eda. Los chistes son sucios y locales. El miedo al baj\u00f3n se filma con la misma atenci\u00f3n que el pico: as\u00ed se sabe que el director estuvo en la sala para ambos.<\/p>\n<p style=\"text-align: justify;\">La banda sonora es la otra mitad de la historia. London Records sac\u00f3 un doble \u00e1lbum &#8211; el segundo disco mezclado por Pete Tong &#8211; y a\u00fan suena como una radio de finales de los noventa que confiaba en los bailarines. <em>Build It Up, Tear It Down<\/em> de Fatboy Slim, <em>Belfast<\/em> de Orbital, <em>Kittens<\/em> de Underworld, <em>Caf\u00e9 del Mar<\/em> de Energy 52, Carl Cox, Armand Van Helden, <em>Never Believe<\/em> de Dillinja, Death in Vegas, <em>Come Together<\/em> de Primal Scream: house, techno, drum and bass y big beat comparten una noche sin tener que representar una tesis. Los temas no decoran montajes de pastillas; estructuran la amistad durante un set. <em>Belfast<\/em>, sobre todo, lleva el baj\u00f3n: un loop que parece la luz de la ma\u00f1ana a trav\u00e9s de una cortina barata, cuando el club ha cerrado y la ciudad solo es Cardiff otra vez.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">Una pel\u00edcula de escritor si alguna vez hubo una.<\/p>\n<\/blockquote>\n<p style=\"text-align: right;\"><em>(Leonard Maltin)<\/em><\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">La cr\u00edtica se dividi\u00f3, lo cual conviene a una pel\u00edcula que no pide aprobaci\u00f3n. La frase de Leonard Maltin es justa: la voz en off de Kerrigan es el ensayo de un joven, a veces demasiado contento de s\u00ed mismo, a menudo exacto sobre la verg\u00fcenza, el sexo, el trabajo y la peque\u00f1a pol\u00edtica de un grupo de amigos. Premios de festival y una nominaci\u00f3n a los BAFTA sin convertir el filme en un manual. Es una pel\u00edcula de culto en el sentido \u00fatil: una sala de gente que reconoce la moqueta, el camello, el valor est\u00fapido, y no necesita que la pel\u00edcula los condene para sentirse vistos.<\/p>\n<p style=\"text-align: justify;\">El cine rave suele llegar tarde, cuando los almacenes ya son marca. <em>Human Traffic<\/em> lleg\u00f3 mientras el fin de semana a\u00fan parec\u00eda un sitio aparte, con sus discos y sus puertas. En un sitio que archiva techno y house como g\u00e9neros vivos y no como accesorios de nostalgia, la pel\u00edcula sigue siendo un documento de c\u00f3mo esos discos funcionaban en una sala: no fondo para un cuento aleccionador, sino el pulso que mantuvo a cinco personas juntas hasta el alba. Cuando el tema acaba, Cardiff solo es Cardiff. El filme no finge lo contrario y no se burla de las horas en que fue otra cosa. Para quien a\u00fan oye <em>Belfast<\/em> o un mix de Tong y recuerda un suelo pegajoso concreto, aqu\u00ed est\u00e1 ese fin de semana, guardado sin disculpas.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Un fin de semana de clubs en Cardiff y el baj\u00f3n: la pel\u00edcula de Kerrigan (1999), con discos dance de finales de los 90.<\/p>\n","protected":false},"author":1,"featured_media":9717,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[299,303],"tags":[1139,418],"class_list":["post-9722","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-criticas","category-peliculas","tag-fatboy-slim-es","tag-techno-house-dance-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Human Traffic - 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