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AGORAfilia and agoraphobia (1): Reflections on the controversial film by Alejandro

Amenábar do not know if that expression is doing his Don Quixote "bark, then moving", but the fact is that the box office hit and heated controversy that has arisen show clearly that the author not only rides, but gallops on the backs of their new-and in many ways excellent, film AGORA . I have heard and read reviews for almost every taste, ranging from the passionate defense of anti-Christian message and procientífico course of it, until the scandal over the handling of maliciously historical data for picking on the early Church. Some say the approach has left him somewhat Manichaean, you know, good and bad, black and white (in robes), Pagans and Christians, scientists and fans ...
In my opinion, Manichaeism is more in the eyes Time Viewer, which in this country, unfortunately, tends to simplify the contrasts in excess. The film certainly fed some topics, but topics are well-fed and those who manipulate the viewer the message and pulled the ember to sardine. Which, of course, is inevitable, especially when the film is documentary claims ...
The first question to make clear is that neither history nor any other science can talk about the facts as they are or were, therefore, as the Talmud says, "we see things as they are, but as we are." It has long epistemological critique of the various scientific disciplines has made us give up the pretense of objectivity. As I said Feyerabend, the epistemological anarchist, "for science, facts are facts " Clarifying that the first "facts" is a noun, while the second is participle, ie that science manufactures or builds its own facts . Therefore, no matter how "serious", "objective", "fair" or "documented" This investigation is always bears the signature of the author, his perspective. And what makes the issue much more complicated and Babel, but also more rewarding is that every reader, student or viewer agrees to this research, also makes his own, also builds its own interpretation. If we add that in the present case, it is not itself a research -Though clearly Amenábar has done with rigor-but a very artistic recreation-for-this documentary that the licenses in version and interpretation are as many as the perpetrator wanted to allow. And for the viewer, I would say almost the same.
Every truth is thus multifaceted, and my intention is simply to show some other sides of this compelling story that, in my opinion, both have been hidden by the glare of the blockbuster as the barking of criticism.