VEAN ESTE VIDEO QUE HA PUBLICADO LA GUARDIA CIVIL.
POR FAVOR SUPLICAMOS QUE SI ALGUIEN SABE ALGO QUE LO DIGA.
NO TENGAN MIEDO A NADA.
GRACIAS POR SU COLABORACIÓN.
Yeremi José Vargas Suárez tendría hoy 12 años y, aunque parezca mentira, cuando se van a cumplir cinco de su desaparición (tuvo lugar entre las 13.30 y las 13.50 horas del 10 de marzo de 2007) todavía se desconocía cómo iba vestido el día de autos o que tenía una mancha rosácea de nacimiento, ubicada en la clavícula derecha, por encima del pecho. Estos datos tan notorios en otras investigaciones, como la de la británica Madeleine McCann —con un tipo de coloboma o fractura del iris peculiar en su ojo derecho—,( não foi ocultado; foi o pai que fez publicidade imediata," the marketing ploy" * e resta saber se é verdadeiro) se han ocultado premeditadamente por parte de la Guardia Civil y la familia del niño «para no enturbiar» el avance de las pesquisas, indicó ayer el teniente coronel Manuel Llamas.
En una rueda de prensa ofrecida en Madrid, Llamas, responsable del departamento de Delincuencia Especializada y Drogas de la Unidad Central Operativa (UCO), aportó las novedades que ha deparado en este lustro la investigación, que «no se ha abandonado en ningún momento», afirmó. De hecho, el motivo de la comparecencia estribó en pasar a una«nueva etapa» policial, lograr que «el caso no caiga en el olvido en un momento tan crítico» y azuzar la colaboración ciudadana, que puede aportar lo que sepa en un teléfono y correo electrónico dispuestos por la UCO.*http://gazetadigitalmadeleinecase.blogspot.com/
Con una iniciativa poco habitual, la Guardia Civil detalla con un vídeo de siete minutos de duración cuál era la indumentaria de Yeremi aquel sábado fatídico cuando jugaba con sus primos en el solar de Llanos de Polvo, en el municipio de Santa Lucía de Tirajana, a 35 kilómetros de Las Palmas de Gran Canaria. Gafas graduadas de montura cuadrada azul y patillas amarillas, pantalón pirata beige caqui, zapatillas Nike modelo Total 90 blancas y con remates dorados, y una camiseta inconfundible marrón chocolate con grandes letras serografiadas en naranja. «Skhuaban Denim Works» se leía en la parte frontal. La vestimenta no se publicó antes para evitar las «llamadas falsas», que en los primeros compases de la investigación dieron muchos quebraderos de cabeza, hasta el punto de que se arrestó a un joven de 27 años que llamó dos veces para exigir un rescate de 6.000 euros por Yeremi. A los dos días fue puesto en libertad por lo infudamentado de su testimonio.
Dos o tres vehículos
Los responsables de la dilatada investigación también han dado a conocer que «persiguen» el rastro de dos vehículos, quizás tres. En concreto, se han inspeccionado más de 32.000 coches del modelo Opel Corsa tipo B con formas redondeadas y color blanco, porque se vio uno de ellos el día de autos con un joven que llevaba una gorra y conducía en dirección contraria por la calle Honduras, en la confluencia con la calle Perú donde se sitúa el descampado en el que desapareció Yeremi. Varios vecinos detectaron poco después ese coche en plena calle Perú, sin ocupantes dentro y con la puerta derecha abierta, para ser visto por última vez a las 13.45 horas alejándose del lugar. A las 13.50 horas la abuela de Yeremi llamó a los tres chiquillos a comer. Uno no está.
El teniente coronel Llamas relató ayer las «complejidades» para dar con este coche, ya que hay testimonios que hablan de otro Opel Corsa blanco, tipo C y modelo GSI (con faldón y parte trasera negra). Y no es la única dificultad en una isla atestada de ese modelo en alquiler y que celebraba aquellos días el Carnaval, con cientos de turistas: al final, las pesquisas se centraron en 2.400 coches.
El segundo de los coches sospechosos es un Renault Clio negro, con cristales tintados y una pegatina blanca de una margarita, cuyo conductor, también joven y tapado bajo una visera y ropa oscura, se detuvo en el solar una semana antes de los hechos y preguntó por una dirección. Días después se le vio rondando por la zona, mal estacionado, se detenía un rato y se iba, según los testimonios ciudadanos recopilados. No se le volvió a ver.
La Guardia Civil investigó a 195 pederastas y se detuvo a 32 personas acusadas de un delito de este tipo. El móvil sexual es el que más fuerza ha cobrado estos cinco años, aunque los agentes no desechan otras vías, como el secuestro, una venganza familiar o el tráfico de órganos. Incluso, no se atreven a descartar que Yeremi Vargas siga vivo.
fantasias do cineasta MARKUS SCHLEINZER acerca de Madeleine.
Casting director-turned-filmmaker Markus Schleinzer has put paedophilia in the picture for his first feature, Michael. A tough subject for any directorial debutante, it would be fair to think. Yet with The White Ribbon, The Counterfeiters and The Piano Teacher among his credits, Schleinzer is clearly not one to shy away from serious social topics. LWLies sat down with the lively Austrian recently to discuss the real-life episodes that inspired Michael, and the importance of collectively addressing this taboo social issue.
LWLies: The film has screened at a few festivals, has it been interesting for you gauging audience reactions?
Schleinzer: It has. Making a movie with this issue and thinking that everyone is going to love it would be naive. But I always get interesting questions from the audience, which I have to take. I have to be open and ready to accept criticism and feedback.
Have you had any really strong reactions for or against the movie?
Yes, in one case I said to a very upset man after a screening, ‘What did you expect? What did you come here thinking you were going to see?’ That’s not me trying to provoke them, but I’m interested to see what people’s expectations are for this movie. People want a handrail, they want this issue to be explained but that’s not what I’m trying to do.
Is that why you end the film where you do? Because if you carry on you’ve got to show the media coverage of the case, the aftermath. The media will only ever take one side and that in turn makes up the audience’s mind.
That was the point, yes. When I first sat down in 2008 to start writing this movie I came up with three different storylines, in the story that became Michael I had the beginning and the end of the movie very early one. I sat down with a group of friends and discussed all three different storylines and that one was the one that stimulated the most interesting discussion. How can one make a movie about a paedophile and what would that look like? Then in late 2008 the topic of the kidnapped child was everywhere. The previous summers we had Madeleine McCann and we had these huge crime cases in Austria with Natascha Kampusch and Fritzl, it was everywhere. I was disgusted with myself when I found out that, like most of us, I’m an addict to tabloid gossip whenever these events occur. You have the papers saying ‘the mother’s not crying enough in public’ or ‘the father’s having an affair’ or some other slander, and the public feeds off it. I was trying to do something that was not manipulative. Giving a safety to the audience, and letting the interpret what’s going on.
What interests us is the humanising of Michael. A lot of people have said he shouldn’t be humanised at all, but it’s respectful and graceful to show that he is a human.
Exactly. The perpetrator is as much a human being as the victim. Maybe in a way it was therapy for myself because of how I responded to tabloid gossip, how I fell into that trap. I’m the most guilty for saying ‘these people should be killed!’ whenever a story like Fritzl breaks.
It’s difficult not to react like that in the first instance.
That’s true, it’s difficult, it’s our culture. When I hear of ugly crime cases it always makes me anger, but anger doesn’t help the discussion.
Do you see the film purely as self-therapy?
No, I hope that it stimulates the discussion, too. I myself don’t think that I’m such an interesting person that my therapy is worth sharing. Filmmaking should not be done as a therapy for something, not for actors and not for filmmakers.
What made you want to make this film about this issue?
I’m not entirely sure. Fascination. But this issue is not a new one, people were making films about this 15, 20 years ago. But it’s often used for entertainment, where you’ve got three or four boys in the ’70s and one gets kidnapped by a man and locked in a basement and gets raped all the time and then we cut to 20 years later and we have Oscar nominees playing the kids as adults and the one who got raped is a little weird… It’s the same shit, whether it’s Mystic River or Sleepers or whatever.
That’s the Hollywood version.
Right. It’s okay, but it’s lazy that these characters become criminals themselves just because they were abused as children. You can become a weirdo or a criminal for any number of reasons, Tim Robbins’ character could have witnessed a killing or his parents could have gotten divorced. It doesn’t have to be a childhood sickness. So why use this topic? Because it’s taboo and topical and modern, it titillates audiences. There is nothing in culture that deals with the subject in the same way as my film.
Have you seen Happiness?
I hadn’t but a lot of people asked me this question and I have since watched it. It’s a black comedy though, it’s provocative and my movie is very different.
One conclusion we drew from your film is that you present paedophilia as a disease, an affliction, rather than a fetishistic impulse.
You think it’s a disease?
It certainly seems as if people are coming round to the idea that it could be. The media has had such a narrow-focus on the issue for so long, in the tabloids it’s all about naming and shaming, crucifying them…
I was told that they are born that way. It’s a monumental discussion, but whether it’s a disease or not what’s clear is that there is no cure right now. In France when Sarkozy was first elected there was a lot of talk about this so-called ‘paedophile gene’, and it was proposed that if this gene was found in children before birth they could be aborted. That was a serious discussion, and it helped Sarkozy win the election. But if we start killing children and eradicating paedophiles from society then what’s next? Who do we go after then? When do you stop?
What kind of research did you do for this film?
I met some paedophiles. What was most interesting was that they are still not able to accept their guilt. It’s really frightening. They say they were loving the kid or teaching them about sexuality in a nice way. It’s so very hard to listen to that.
Michael is seen to look after the boy, feeding him and clothing him. Was that informed by those meetings with real paedophiles?
Yes, because it was much more interesting for me to focus on the daily relationship than the crime and the kidnapping.
You mentioned a few of the real-life cases that very much had a global impact. Do you see this as something we have to address together?
Absolutely, no one society has worked out the best way of handling this, we have to find a solution together. The problem is everyone is still so uncomfortable talking about it. We need to take responsibility. I’ve been asked whether it’s an Austrian issue only, but of course it’s not, this just happens to be an Austrian movie. It was the same thing with Hitler, because as Austrians we were the first to invite him into our country and then once the war ended there was a real divide because those who had been screaming ‘Heil Hitler!’ suddenly felt very uncomfortable. It causes pain to discuss these things. But we have to look at the victims, there has to be a reason why most victims of paedophiles feel some guilt themselves, they feel ashamed. It’s the responsiblity of society that they must not feel ashamed of what happened to them.
It’s the same thing that makes people react strongly to your movie. Some people are not ready to address this issue, it’s too uncomfortable to speak of.
Yes but I understand that. To be honest with you if I came home from work and I was tired and decided to go to the movie where there was a choice of being brainwashed by some 3D blockbuster or seeing Michael, I’m not so sure I would even chose to see my own movie. But it’s there, it’s in the world, and I hope many people see it and engage with it. I hope it stays with people.
Michael is in cinemas now courtesy of Artificial Eye and is also available to stream on Curzon On Demand.