Pavimentando o caminho para o apocalipese:
Oppenheimer e Hiroshima
Palavras-chave:
Hibakusha, cinema, vitimologia de Oppenheimer, testemunhoResumo
O lançamento nos cinemas de Oppenheimer de Christopher Nolan ocorreu em 21 de julho de 2023. Recebeu críticas excelentes. Até outubro de 2023 o filme ainda não tinha sido resenhado no Japão, mas os críticos japoneses foram rápidos em apontar que o filme não trata da morte e destruição em Hiroshima e Nagasaki. Os mais de 200.000 mortos e os sobreviventes estão praticamente ausentes do filme. Sendo assim, embora o filme não seja uma celebração do homem apelidado como “pai da bomba atômica”, ele ainda assim o retrata como um personagem simpático. Este tratamento é questionável. O filme de Nolan não é sobre a decisão de lançar duas armas nucleares no Japão. Não é um documentário. No entanto, Oppenheimer, o cientista, nunca pode ser separado das armas atômicas e do massacre de civis. É verdade que ele foi torturado pelo resultado que se desdobrou de sua pesquisa, mas ele tinha consciência do que estava fazendo. Assim, um tema subjacente deste ensaio são os perigos da arrogância. O texto busca demonstrar como tanto a memória de Hiroshima quanto a de Oppenheimer estão ligadas por serem ícones contestados. Nolan fez este filme em uma América hiperpolarizada. As funções didáticas teriam que repercutir em seu público. Oppenheimer, um brilhante intelectual judeu erudito de esquerda de Nova Iorque, foi humilhado e expulso da vida pública numa era histérica de política de direita anticomunista. O espectro do populismo de direita paira sobre o filme e é um fio condutor ao longo deste ensaio. Oppenheimer é como um conto que pode advertir sobre os caminhos deliberados e cegos tomados em direção a um apocalipse.
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