Cosmopolitan (Dis)encounters: The Local and the Global in Anthony Minghella’s Breaking and Entering and Rachid Bouchareb’s London River

Resum

Through the postcolonial reading of Breaking and Entering (Anthony Minghella, 2006) and London River (Rachid Bouchareb, 2009), I mean to analyse the multiethnic urban geography of London as the site where the legacies of Empire are confronted on its home ground. In the tradition of filmmakers like Stephen Frears, Ken Loach, Michael Winterbottom or Mike Leigh, who have faithfully documented the city’s transformation from an imperial capital to a global cosmopolis, Minghella and Bouchareb demonstrate how the dream of a white, pure, uncontaminated city is presently «out of focus», while simultaneously confirming that colonialism persists under different forms. In both films the city’s imperial icons are visually deconstructed and resignified by those on whom the metropolitan meanings were traditionally imposed and now reclaim their legitimate space in thenew hybrid and polyglot London. Nevertheless, despite the overwhelming presence of the multicultural rhetoric in contemporary visual culture, their focus is not on the carnival of transcultural consumption where questions of class, power and authority conveniently seem to disappear, but on the troubled lives of its agents, who experience the materially local urban reality as inevitably conditioned by the global forces –international war on terror, media coverage, black market, immigration mafias, corporate business– that transcend the local. This paradox is also perceived in the way the two filmmakers depict the postcolonial metropolis as the locus of social inequality and disequilibrium, but also as the scenario of unexpected encounters and alliances where both the protagonists and the spectators can explore the fantasies and fears about Otherness, and thus contest racial stereotypes.