On Tuesday, finally, one was released No fiction which TV3 has told us a lot about in the last month. It’s as if we’ve seen it before, and this has caused some confusion. the escape, the documentary about the abuses of the Jesuits of Casp and Sant Ignasi de Sarrià, was released at the end of May in a few cinemas in Catalonia. The TV news they made reference to it, promoted it and broadcast the first fragments and the statements of some witnesses. Since then, they have been providing new information: the appearance of a letter from the Jesuits in Bolivia which shows that they were already aware of the abuses, the Jesuits admitting the mismanagement, that the Catalan Jesuits were involved in the abuses in Bolivia, new victim complaints following the documentary and more promotion of the documentary before the broadcast on TV3. Current events have ended up overriding the documentary. And, in a way, it has been newsworthy before its telecast.
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On the other hand, the television promotions of the escape of the last few days they chose moments of the victims of abuse crying or with expressions of suffering. A use of the pain of these testimonies in a frivolous way for advertising purposes. It’s one thing to cry in front of a camera in the context of a story, and quite another to have that excerpt extracted for commercials. One more proof of this tiktokization of television, which is more dependent on business than common sense.
the escape it is a necessary documentary, due to its reporting of extremely serious cases and its ability to rescue the victims by validating their experience, allowing them to appropriate the history that the Jesuits denied them. It was moving to listen to them and understand all the suffering they have endured, from the abuse and also from the discredit and contempt with which they were subsequently treated. The documentary reconstructs the events very well. Some re-enactments were perhaps unnecessary, and in some cases it seemed excessive to bring the victims to the scene. Bringing one of the witnesses back to the swimming pool of the dormitory and ending up placing a wreath there was excessive and made him suffer. You have to be alert when the plastic and symbolic pretensions of the documentary force the witness to pour himself into the trauma.
the escape perhaps he focused too much on the description of each abuse and instead relegated to an endnote all the characters who covered up the pederasts. The lawyer Francesc Jufresa talks about the personalities of Barcelona who tried to withdraw the accusations against Lluís Tó. And Alessandra Martín is stunned when she discovers, among the trial paperwork, a report from her teacher in which she accused her of being a “flirty” girl when she was seven years old. Or the use of her drawings to discredit her psychologically. All these cover-ups are accomplices and, as the lawyer says, they end up forming a criminal organization. The role of highwayman Pau Vidal, delegate of the Jesuits of Catalonia, is consumed when a final sign warns us that the religious order has once again protected the abuser from the impact of television. As the documentary does Athlete A (Netflix) about the abuse of Larry Nassar, the doctor of the US gymnastics team, the entire structure that tolerated and facilitated the abuse, the middlemen who participated in the coercion to the victims. This is where the journalistic emphasis should be placed. Because the Church’s abuse figures show that the problem is structural and that they are not isolated cases, as suits the Jesuits.
Mònica Planas Callol is a journalist and television critic
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2024-06-19 19:58:58
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