Abstract
Resumen: Ya superado el octogésimo aniversario del fallecimiento de Antonio Machado, volvemos nuestra mirada hacia dos películas cuyos discursos gravitan sobre una honda inmersión en su obra y su personalidad. Dirigidas por Arturo Ruiz-Castillo entre el verano de 1952 y la primavera de 1953, La laguna negra surge como transposición de un romance del poeta sevillano, mientras que el relato posbélico de Dos caminos parece nutrirse de una tupida invocación alegórica del pensamiento machadiano. Escasamente conocidos y apenas considerados por la historiografía cinematográfica, ambos filmes conforman una inconfesa bilogía dotada de una insólita densidad semántica que urge reivindicar.Abstract: Just after the eightieth anniversary of death of Antonio Machado, we turn our attention to two films whose speeches gravitate a deep immersion in his work and his personality. Directed by Arturo Ruiz- Castillo between the summer of 1952 and the spring of 1953, La laguna negra emerges as transposition of a romance of the Sevillian poet, while the post-war account Dos caminos seem to be nourished by a dense allegorical invocation of Machadian thought. Scarcely known and barely considered by historiography film, both films make up an unmistakable biology with an unusual semantic density that needs to be vindicated urgently.
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