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GPS Audiovisual T05 P21 - FEDERICO OLIVERA ESTRENA SU OBRA TEATRAL "EL FONDO DE LA ESCENA" · GPS Audiovisual

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Audio- visual GPS radio every Wednesday at 19 o' clock. The protagonist
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is Argentine cinema. In Julia Montesoro' s eyes, a treasure, a
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program with a gender perspective that nucleates the country' s film industry. Argentine
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cinema will never be the one it is until now. We, from audiovisual
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GPS, continue to believe, betting on a culture as the fundamental pillar of
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society, a culture that is free, accessible, plural and has State resources
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for its development. Welcome all to GPS audiovisual radio, with the journalistic production
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of Norberto chap and the driving of those who speak to them, Julia Montesoro,
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Celina Murga will premiere worldwide her new film, The aroma of the freshly
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cut grass, which will be in the fiction competition of the Tribeca Festival,
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which will be developed from June 5. This is a story about love,
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desire and family, starring Joaquín Furriel and the Mexican Marina de Távira, which
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features executive production by Martínez Corses. Yes, as Martínez Corses himself heard.
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We started this new radio audio- visual GPS broadcast with Celina Murga here in
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the studios. It' s a great pleasure to receive you Selina how you
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are. Hello. Thank you. Thank you, Julin Orberto, for always
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inviting me to chat with you. Well, we back off on the calendar
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and we' re on time. I don' t know where you got
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a message or a whatsapp or a phone call telling you you were going to
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be in Tribeca with your new movie, how you felt at the time.
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You were surprised what happened. Well, yeah, it really was a great
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joy. It' s a project in which we' ve been working a
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lot, a lot of people who are parts of the movie were going to
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be filmed in the pandemic to make it an idea of where we came from.
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Then, good to be arriving as at the end of the road,
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where one really begins to yearn for that child, who was taking care of
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so long, to meet his first steps and meet the spectators, to begin
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to be made as necessary. And well it was given that the Tribeca Festival,
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which is a festival that I don' t know personally. If I
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know people who have been and have heard him talk a lot about him,
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they really liked the film and invited us to take part, as with much
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enthusiasm they are giving us as a very good place. So we' re
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resatisfied and looking forward to how it' s going to work over there.
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In The Festival Director made me a very nice evolution talking about the characters and
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the film. He told you no. He resonated a lot with certain Robert
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Altman films on this issue of how the film somehow seeks to deepen the interpersonal
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ties of two couples and their environments. And like he valued a certain look
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that' s good you saw when they tell you something that has to do
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with what you were looking for. You always say good. Okay. We
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are doing well with this question of complexing in the ties and nuances and tensions
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that go through the dynamics of a family, of a couple. So,
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well, it was good. Okay. The informative review says that this is
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an adult story about love, desire and family. There' s something about
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all that that has resonated with you especially personally when it comes to writing this
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story. Yes, without a doubt, that is to say, the film
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arises there by the early versions of the script that we wrote together with Juan
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Villegas and Lucía Osorio. At a time when there was a strong boom in
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Argentina around the feminisms, when we were still as with this great struggle over
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favor of abortion, and a little at that time, the question was what
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it is to be a woman and what it is to be a man in
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relation to the power dynamics of machismo how machismo works within the institutions, what
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happens to feminism and machismo and those positions within the framework of a couple,
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how these questions are resolved. And so we wrote this story that is basically
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starring a female character, who is a university teacher, who was going through
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a crisis in her partner and within the framework of her family and who is
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lovingly related, let' s say, to a fellow student. And at
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the same time this story also happens in mirror with a male character and a
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little first, the kick was good. We are not going to put anyone
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in a comfortable position as from a situation that is in itself conflictive for both
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characters, man and woman, but also a little looking for the mirror of
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good, what we like, what makes us different as a gender, but
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also that it equals us and what happens to the dynamics of power in these
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relationships. So it was a very nice challenge to tell this of two parallel
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stories that for the moment are mirrored and for moments not and how we place
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ourselves not in both men and women in those places. So it was a
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very nice process of working with the actors and also a very nice assembly process
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of finding the parallel and the differences between this between this mirror let' s
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say that sometimes they' re obvious and sometimes they' re not, and
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like the viewer' s eye has to go look for those elements in one
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story and another. And well, for those who enjoy deepening and empathizing and
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finding as the footprint of the links in the characters. I think it'
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s a movie that' s gonna enjoy a lot. How much I listened
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to you and well, I thought and remembered your positions, your thoughts,
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your comments about feminism, gender perspectives, no, and how much of that
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came into play also in the screenplay Selina And well, a lot, obviously
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a lot, because good was the germ of history. It had to do
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with that. But then, throughout the time and process of work, we
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also continue to deepen is always looking to get out of the most comfortable places.
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In the sense that I am very interested that films are not conclusions,
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but are questions, such as that films are more of an inquiry into a
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subject that moves you, challenges you, cares, but without the will to
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lower line or want to be dogmatic in the position that the film takes.
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Not then I really like a line from Shang Cloud Carrier. The screenwriter who
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is a movie is anything but a conclusion. Not like there' s something
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about the movie trying to open up senses and put the viewer in relation to
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characters that put it a little at stake. Let' s say in this
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movie there are no good and bad, there are situations and there are characters
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in situations and a little intention was good to ask us all women are good
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at being women. All men are evil because they are men who go through
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the dynamic of power in institutions. All these questions are at stake, but
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the film does not intend to give an easy or digested answer on the subject.
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So, well, the people who have seen her, who some have
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already seen, are very interested in arguing. And it' s very good
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as conversations have been held where, naturally, some or other women and men,
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we see different things at stake, and that' s what we wanted
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now. Well, you were saying, a moment ago that the return you
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got from Tribeca gave you the pattern that good that you were looking for,
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that you were looking for by making this story, was on the right track.
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Let' s say at the same time, what a surprise that you
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haven' t noticed now that some people have already seen the film. They
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give you returns, they give you comments that you haven' t noticed,
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or that they surprise you about this story. I don' t know if
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I mean I' m surprised by the comments because well it happened in a
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projection we made. I' m not giving names. There were a lot
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of people, there was a lot, but there were about twenty people,
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some I knew, some I didn' t and it was really very striking,
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as some men saw or reflected. I don' t know, they
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drew conclusions about the action of the male character that women said no. But
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in reality, and as a result, it was being put together in debates
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about gender positions, which are what we wanted to happen. And I mean,
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in that sense, it was a pleasure to see him, but it
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wasn' t easy to make sure that was going to happen. Let'
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s say that there is something about the challenge, that was to put together
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the puzzle of the film so that there are just things that are sown,
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but that also remain to be analyzed, seen reflected by the spectators and the
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spectators, not because the film throws it over your head in one way.
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So, anyway, still the road is totally open in the sense that very
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few people have seen it and I don' t know what' s going
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to happen then always. That' s like a nice concern about good,
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how you' re going to keep talking to the good audience this trives that
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' s going to be the world premier and as a public, plus,
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yes, yes, yes, they have, we have, we have three
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functions, so there' s going to be a whole experience also of seeing
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what happens not and besides, with an audience that' s not your own.
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Let' s say exactly, yes, yes, it' s very
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particular of a city you know because we' ve been there, but at
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the same time we don' t know exactly how it' s going to
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position itself. On the subject, I, at first felt that it was
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also a very Argentine topic, in the sense that something about gender discussions is
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something very ours. But, well, I understand that the film achieved a
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universality that will allow that to open up. And well, you have to
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see how Martin Scorsese got to this production and what his contribution was, his
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gaze. Well, you saw that I won a Rolex Foundation scholarship several years
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ago that put me in relationship with him in a master and disciple bond and
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from that experience, which was a lot back there by the two thousand nine,
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we were in very good relationship and the two films that I made,
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that is, the first one he got involved in was a week alone,
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which was the one I had filmed at the time. Then came the third
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shore and now it is always looking to share my works with them in different
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instances, let' s say and he very generously, always both on the
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third shore and on this. He offered me to be an executive producer to
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present it in some way, like how to endorse it, how to put
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on, as support, as a mentor, which is what ultimately was mine.
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So, obviously, it' s a name that opens many doors and
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generates interest in more people getting involved in the film. Let' s say,
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not so much in terms of production, but also from wanting to see
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it, that is, the name of it. It deals with an audience
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that is wider than the audience that naturally knows my work and is going to
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go to a film made by me. So that' s always interesting,
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because good because it opens the game and in fact, I guess that also
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contributed to arming a co- production, because the film is a co-
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production between the film, it' s a movie, it' s a
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comparison between many countries, realizing how difficult it' s never filming. So
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it' s an Argentine film, Uruguayan, German, Mexican and well,
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the American paw that is corsse, and well also axelche basque that has its
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company of prefinition in Infinity Hill, which is based both in Los Angeles and
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in Maya England that he is Argentine. Yes, but we are many countries
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that are taking it forward and how you found yourself in this new work production
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scheme. I had already made my previous film in co- production, in
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that case it was with Germany and Holland. It was a lot tighter.
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Well, you always want to keep making movies and you have to find a
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way to adapt and keep finding new paths. Let' s say no,
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this movie came up. It' s very funny, because we wanted to
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write a script thinking it was easily achievable. At that time there was a
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contest of the Inca that was what it was called. I don' t
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remember but it was like a contest of the Inca, which was little money,
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but fast. I remember it was from Cassetta' s time. So,
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at first it was a small movie, in a movie that could be
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made as soon as the pandemic fell and when the pandemic fell, well,
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we had to stop everything we were already preparing to do and in that stop
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there was a necessary argument regarding well, with the money we had from the
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Inca, the film can no longer be done what we do. And that
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' s where it came up as a possibility. Okay. Juan Villegas,
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who was already very close to Axel, approached Axel to the project and came
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up with this possibility of good, why not open the game to outside productions
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and see how it can be that way and that' s how we grew,
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let' s say going to co- production markets. That' s
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where the German co- producers came in. Later, Uruguay, After,
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well, Mexico, who also entered bringing Marina de Tavira, an excellent beautiful
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actress, a person from Mexico who fell in love with the script. She
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fell in love with the character, she is very much in love with Argentine
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culture and Argentine cinema, as a very different kind of cinema than the one
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done in Mexico, with codes of storytelling and acting very different. Then,
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immediately, he wanted to be a part of the project. Then, well,
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we added Joaquín Furriel to the character Pablo, who also fell in love
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with the script and turned out to be a very challenging character in relation to
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the type of characters he is perhaps more accustomed to travelling in the cinema.
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So well, as the film grew into new places and I accompanied it in
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this eagerness to also trust in new ways and to find new ways. Well,
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wow, you found it. Now we are then very few days away
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from the world premiere of the aroma of freshly cut grass. You haven'
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t made a movie in ten years. That' s a lot of it.
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There' ll have to be another ten. Don' t compare the
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movie. Cool projects on the way. I have a script that I'
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m writing with a writer friend. We are there in the treatment stage and
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already starting with some interested producers, starting as to take the first steps to
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see where it is going. But well, very early on. Let'
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s say not I general, I kind of like to focus on every project.
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Little like because of my personality the average projects that take me it is
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not as easy to have as many things in parallel, but not definitely.
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I don' t want ten years to go by, and I hope so,
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although, well, if you look at the situation, it' s
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not easy at all. Okay, but now we' re looking at this
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World Premier of the freshly cut grass aroma. Selina Murga, thank you very
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much, congratulations for this debut there in Tribeca and well, we will be
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accompanying as always. Well, Julia, thank you very much. I hope
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the next time I can give you a local premiere date. So everyone can
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enjoy it. We will be attentive we continue in GPS, audiovisual, radio,
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such people want present, tango ugly, very present. Well, we
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' re actually doing this documentary. No yes, I think I had heard
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the story of Tanguito told over the years a thousand times and I told myself
20:03
now that I have to make my film and see if I want to be
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an astronaut or if I really went. We weren' t all very new.
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That made us not thinking if the movie was going to be a success
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or not. Ne the freak head it was. No. I never imagined
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it so, but the loves more little what they told us much of the
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time was, they went out at night from the cave and came at dawn.
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So we decided to do the same ritual and painted a gin and we
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all farted? But bent? Bends or plates? Or spoken dishes? I
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like it clearly, I think it would be fair for us to discuss the
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technical details. After the payment is left the telos that had the light show.
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I didn' t have a big stake in it, but I spent
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the whole day in Canejo Uba. There' s never again. He came
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up here so cute. I can talk about it all my life but because
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it was a movie I loved, I want to say something to myself.
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Conobe viejo vamente Legenda Feroz, the documentary that revives Tango Feroz, a film
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by Denissur Fake and Mariano Frigerio, Legenda Feroz premiered in theaters throughout the country.
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A few days ago, in the context of the Buenos Aires Madrid connection,
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held in Madrid, the Buenos Aires Film Commission promoted a declaration for an
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Ibero- American agreement on audiovisual co- production between more than sixty film commissions
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in the region. Carolina Cordero, Director General of Cultural and Creative Development of
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the Ministry of Culture of Buenos Aires, irresponsible of the Buenos Aires Film Commission,
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is then accompanying us in this audiovisual GPS broadcast. Radio. Welcome back,
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Carolina How are you doing? Thank you very much, thank you very
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much for connecting with us and for becoming part of communication and this very important
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program. Well, thank you. What the Buenos Aires Phil Commission proposes with
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its intention to convene the film commissions of the region. Well I tell you
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a little bit, Julia, We understand if we are very clear that the
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immediate future of audiovisual productions in general will be supported by co- production tools
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and co- productions. Basically, we have for many years that there is
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an Aigero- American Graca co- production agreement that works very well and has
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worked very well and has also managed to make Argentina one of the most important
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countries in the region in co- production with countries such as Spain, Portugal
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and Italy, and that then enabled what was the creation, obviously, of
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the Ibermedia program at the bottom of the moment. But this concept of regional
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co- production, where what is at stake is the origin of an audiovisual
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production, in this case, its nationality, is not something that is very
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explored or used in what has to do with the production of content for platforms
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or for television or new means of exhibition. Then, from the Buenos Aires
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Film Commission, what we did was to start contacting each film commission in different
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cities of Ibero- America with the aim of starting to form a joint working
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table among all and generate an Ibero- American agreement for the co- production
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of film commissions, where we are not only talking about an agreement m as
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already exists, which is that of film co- production, but we can
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also take it to the productions of platforms and audiovisual productions that can be created
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in the future. Understanding that at the international industry level, what has been
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happening is that large platforms or streaming companies have been atomizing, buying different companies
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the realities that have come to realize today that, after a period of much
24:30
content production, it was believed that there will be about four or five years
24:34
of bonanza in that production, the budget taps have been closed earlier than expected
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and that these companies that were atomized now began to sell and then began to
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sell distribution windows so that they could continue to produce and generate employment. What
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matters is the associations and the television and streaming production basically works as a partnership
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between two parties or two companies that come together and associate to produce a content.
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But what if that association. We put the concept of belonging to it,
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because it is cultural identity, because it allows to travel in the world
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and, moreover, because of the fact of coming to record, for example,
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the city of Buenos Aires or any other city that forms part of this
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Agreement. Producers may have access to various benefits, incentives or facilities created or
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to be created. So, the truth is that we started in January with
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the call for commissions, they were adding up more and more. Today there
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are more than sixty at this working table, where different topics have to do
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with protocols of good practices, protocols of sustainability, understanding also that the territories
25:38
are very diverse and the realities are also very diverse, because, for example,
25:44
in what has to do with mainly Central America, they have serious problems
25:47
of gender violence in filming. It was then approached as a topic within a
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commission that was put together, within the working table of the chemical commissions and
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in front of this let' s say quantity and diversity of proposals to be
26:06
able to address each one of us what we decided. So, then,
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sectorize as this Buenos Aires Madrid connection agreement was generated. We took advantage of
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this program known in Buenos Aires Madrid to travel to Spain and sign the first
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part of the agreement with the Spanish and Portuguese cycling commissions. Now we are
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going to work with those in the Caribbean and Central America, South America and
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within our country. Now the final goals will come in September with a consolidated
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agreement from the entire region of Ibero- America. We are talking now on
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the internal plane. Let' s say you' re also working or have
26:47
already been working with local film commissions, because there are also film commissions in
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the provinces. But I feel like you' ll tell me, if I
26:55
' m wrong, that the work is a little disjointed, not between these
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commissions, as you said. Yes, we have met, we have had
27:04
three working meetings with the film commissions of the interior of the country, of
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different provinces with different realities. There are provinces like Mendoza neuken Córdoba, which
27:17
are very developed others that are like in a very primary stadium, as can
27:21
be formous omissions. Then there is also something that is very interesting, which
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also has to do with how audiovisual policies are articulated in each country. In
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some countries, the chemical commissions belong to the ministries of Culture, as in
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the case of the city of Buenos Aires. In other cities they belong to
27:38
tourism, in others they belong to the Ministry of Economy, in others they
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are cinematographic promotion offices. They don' t even create commission, but they
27:48
all have a common goal, which is precisely that of being able to promote
27:52
and spread the cinematography or the local audiovisual of each city. Well, if
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one looks, especially in you, at the case of Spain and Portugal,
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if one looks at the number of film commissions that have emerged in recent years
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and the importance that they have in the development not only of the filming,
28:17
but also economic, the value that they add to each production and to each
28:22
region. In that sense, I understand that you are also looking in that
28:30
direction. Yes, we absolutely know that audiovisual production is generating employment and spilling
28:37
to other economies and we are also very interested in working on the repositioning of
28:42
the city of Buenos Aires in the world as an audiovisual beacon of our region
28:48
and Argentina. And also understanding that Buenos Aires is also the gateway for the
28:52
rest of our country. And what we achieved, through this working table,
28:56
is to generate links that contribute value and that allow us in a future justly
29:00
to promote much more our region and as you say in Spain, not long
29:07
ago there was a great lack of filming. However, today become the great
29:15
production haup in Europe, and not only do they have many film commissions,
29:19
but they also have many programmes that encourage production. They have very well explored
29:27
and designed what is known as screen tourism, where they, through a production
29:33
made in a certain place, promote tourism and accompany, for example, the
29:37
launch of that production with a tourist circuit, so that the tourist can know
29:41
and recognize the locations where that series, film or audiovisual was filmed. And
29:48
along the same lines, we also want to work and in fact, there
29:52
are some Spanish cities that are very interesting that pay foreign productions, determining what
29:59
kind of productions and how they show their city, their culture and their identity.
30:06
As they understand that audiovisual products travel around the world and can generate income
30:10
through tourism and other economies. Somehow they give producers an incentive to show their
30:18
city in the best way and in that way they can spill to other economies.
30:22
So it' s very interesting what happens with these meetings, because,
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of course, everyone' s reality is very different. One of the things
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I raised, for example, Portugal is that we have a language difficulty.
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So it' s important to us because what happens to Portuguese and Brazilians usually
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speak Spanish, but we don' t speak Spanish, we speak perfect Portuguese.
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So, to the terms of conducting a negotiation forward, that process is
30:52
a little difficult. So we said well, it is important to incorporate the
30:57
teaching of the language in order to be able in some way equal to the
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Y, on the other hand, because the same thing it said is very
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interesting to us to be able to co- produce, but we do not
31:06
know the talent. Then let us adjust the distribution and dissemination channels a little,
31:10
because perhaps we are looking for a director, a producer or an actor
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and since it does not reach this area of Portugal, we do not know
31:18
it and we are limited only what is displayed in festivals. Then there are
31:21
several axes on which we are working. Well, a very interesting work,
31:26
very intense, I understand, but good that everything is for the good the
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development of the Argentine audiovisual industry. Fundamentally Carolina Cordero, head of the Buenos
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Aires Film Commission and promoter of this initiative that goes nuclear to the film commissions
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of Ibero- America. Thank you so much for joining us. We will
31:55
follow carefully everything that happens. Thank you very much and at your disposal,
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because what interests us the most is that the sector can know all the actions
32:04
that we do to promote the spaces and the generation of employment. Well,
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that' s what we' re here for. We follow the radio audio
32:15
- visual GPS or so precede us with the felis, but I think it
32:19
won' t come out early. He' s so excited about the inauguration
32:22
of the new temple. I think I' ll take care of the last
32:23
of Sunday. Let' s stop at the rose. We can' t
32:28
go straight. I can drive if you' re tired, you' re
32:31
not here to talk to them, and we need to teach you things.
32:34
We' re still walking. Sure, there' s a town close to
32:43
patience. Len the good one, sir, he' s not going to
32:47
abandon us now look, we' re going to do two, Jose or
32:57
whatever I need is to be his wife. No, no, she'
32:59
s not my wife, my daughter Elena. How much he calculates. Uesto,
33:05
sir, I get it in olaca. Don' t worry about us.
33:07
We have time and on are you nowhere we dare praise. Lord blessings
33:19
of brothers, blessings, brothers his hand, but what is your name.
33:25
I' m a young man. Don' t you get the punch,
33:29
don' t you get the punch? I' m worth it just like
33:30
Lenny, God, gave you a mighty beautiful spirit. I' d like
33:36
to invite s Emilio to a baptism here where Pastor Saca is careful what put
33:42
his head in. There are many evangelicals in the people, just as there
33:45
are you. The jokers are no longer for me where the leny would be
33:52
day of Hoas. The wind that sweeps away with the direction of pas Paula
34:00
Hernández, hailed in Toronto and San Sebastián. The wind raging premiere in Salas
34:07
Thursday 21st of March. Tomorrow Thursday 23rd of May celebrates National Film Day.
34:22
Our cinematography is one hundred and fifteen years old and at the headquarters of Dack,
34:30
Argentine film directors, there will be an event to honor the ten years
34:37
of the program The Argentine cinema goes to the school held by the Dack Foundation.
34:44
We are here in radio audio- visual GPS studios with Victor Dinnenson,
34:50
who is president of the DACK Foundation and one of the historic members of the
34:55
Society of Directors. How are you Victor a taste here? Well, all
35:00
right, thank you very much. Equally good how the country changed, changed
35:06
the cinema, changed from a decade to today. I say no what were
35:12
the objectives of that moment when the program came up and how they varied.
35:20
And well look. We were just remembering the people of the Foundation today.
35:28
The Foundation' s first steering committee in the Foundation, of which I integrated
35:31
it and at the initiative of dackla we set up. There was Manuel Antín
35:37
José Martínez Suárez, Sergio Renán, Bueno, Adolfo Ristrarán and another number of
35:44
people who are still at the foundation, which was renewed. But I remember
35:49
that in one of the meetings, of the first meetings, Josécito Martínez Suárez
35:52
said why to take the cinema to school, and he wanted to take it
35:57
to Santa Fe, to the town where he was originally from, and then
36:00
he said to take the cinema to the young people. That was good,
36:04
but it was an initial tip and there we, then bonded. The first
36:08
projection was in the federal capital. We took the initiative to Esteban Bullrich,
36:15
who was then the city' s minister of education and well, we bonded
36:20
and from there we jumped to the province and the province. We jumped all
36:23
over the country and well, and the program was we gave it a lot
36:28
of momentum. It was growing, growing, growing. And it keeps growing.
36:31
And it keeps growing And it keeps going, it keeps going. Yeah,
36:35
yeah, yeah. Before coming to Acá he received a very emotional letter.
36:38
Well, the foundation of a teacher who can' t come from Santa
36:43
Fe, from a locality that the truth has dried up the guy' s
36:46
tears for the times it was the foundation that generated in the boys, in
36:51
the girls. Well, anyway, the students. It was very good.
36:55
There are statistics on how many students watched Argentine films, how many schools benefited
37:05
from the program. The programme has already covered twenty- two different provinces,
37:12
more than six hundred schools and more than seventy- five thousand students. Let
37:16
' s say that for what the program is, think that sometimes we go
37:22
to localities that there are forty students out there and other times there are three
37:24
hundred. Then it varies. Depends on the divisions. What teachers organize is
37:29
an important number, let' s say, and there is a waiting list.
37:32
I also imagine if it were the truth we were to say. This
37:39
year we added one more team that travels to different locations of the interior and
37:45
well, what happens is that you cannot cover absolutely everything, because it is
37:52
one to carry the projector, the screen. Anyway, it' s a
37:55
move. If you carry everything, we assemble everyone in the room, cover
38:00
everything with vinyl and that I know and put on a dark room and project
38:05
and think that sometimes out there you have two days of travel, a day
38:09
and a half to go, to go back. So it' s one
38:14
thing to project in the province of Cacerquita, that that' s suddenly vellaneda,
38:20
olive trees, well, and another thing is to travel inland. It
38:22
takes you a while, they fly you in a truck in the end and
38:27
match the guests, because you always carry a guest, a director, a
38:30
technician, a producer, an actor, the actress. Then let' s
38:36
not say we have to program it. Wind now you choose the Argentine film
38:42
that we are going to project in the schools, that we have a catalogue,
38:45
that they facilitate us. A thanks also to the producers and directors,
38:51
who facilitate us, that there are about fifty, fifty and some films analyzed
38:54
a little that may interest young people if we offer it to teachers. Then
39:01
teachers suddenly depend on the school, it depends on what they do and what
39:07
they need, what they are studying, they choose and then they can choose
39:10
a comedy, a political movie. Well, anyway, whatever they consider and
39:17
what' s inside the catalogue of the age of these fifty and some of
39:23
the movies that are left to each school, they leave that memory, that
39:28
pendripe, with that amount of movies that they can keep watching analyzing. Well,
39:36
it can all be after, not just the movie that' s going
39:39
to be screened on that occasion, but it' s left out of the
39:43
catalog. Of course and that is very important, because it is like an
39:47
audiovisual library that they have left and that in some cases they use it.
39:51
And anyway, that' s up to school. Schools are visited for the
39:55
second or third or fourth time. There are one other schools that took place
40:00
contests of script of the students, made a short in order that we supervise
40:06
it in Córdoba, between rivers Santa Fe that is why it is a task.
40:12
Now, these initiatives come from the boys and girls themselves, because this
40:17
is fundamentally adolescent, of course, secondary, secondary. Every now and then
40:24
we do some elementary school, that there aren' t so many films for
40:28
him clantiles. There we face a problem. There is less and less absolutely.
40:34
Then these contests arise from them clear, if they are proposed, we
40:38
open the contest to us and then every school that wants to participate in via
40:46
the scripts and then we analyze it here suddenly with some director who participates Spinerleke
40:53
and tin, anyway and then, if I think that two opportunities won the
41:00
contest and the schools then produced and filmed it and we supervised it there sending
41:07
some technician. But it' s already up to school there. We can
41:09
' t force him. So it' s a matter of students doing it
41:13
and teachers guiding us a little bit. Sure, sure, sure, now
41:21
well, in many cases it' s about guys and girls who were never
41:28
like that a lot and what happens there in this first contact. In addition
41:35
with a big screen yes look, we had made a documentary years ago,
41:39
with a number of visits that we counted just all these situations and praise,
41:45
through an agreement with the province of Buenos Aires, we made a cycle in
41:49
rural schools. A documentary emerged from that cycle. Yes, and good in
41:52
the documentary is that there are very interesting reflections or testimonies of the boys,
42:00
of the students who live together in those sequels and, in many cases,
42:05
the first time they watch big screen cinema or watch a national film. There
42:10
are people who never come in the national movie, see it on their cell
42:13
phone or watch a show or watch it. But that' s why I
42:19
say the program. What' s nice and exciting about it is that it
42:24
goes to the localities far away from the capital. If we go to missions,
42:29
for example, they go to some mission locality, but we don'
42:34
t go specifically to inns, or if they go between rivers, if they
42:37
go to Santa Fe, inland localities. So that benefits the program and benefits
42:42
the students. That is why teachers, in many cases or directors, are
42:45
very grateful for this initiative and meet actors, technicians, and directors. But
42:52
of course, because you also show him the backstage of the movies. Sure,
42:57
sure and live sometimes. Sure, yeah, sure, sure, yeah.
43:01
That' s what' s attractive, what' s strong. Well,
43:06
and this documentary, I had a chance to see it at the Mar
43:09
del Plata Festival, and tomorrow it' s going to be shown. Tomorrow
43:12
we have a kind of student teachers coming from different provinces, commemorating the ten
43:19
years of Argentine cinema. The school is attended by directors, actors, technicians
43:23
and after a talk there is an exchange of views. The documentary is given
43:30
and after the documentary, we inaugurated a mural in commemoration of the more than
43:37
a hundred years of cinema, of the creation of national cinema in the DA.
43:42
It is a beautiful mural that contains images of countless films and the truth
43:51
that today we hang it up and inaugurate that too, so after the screening
43:57
of the documentary, we follow the celebration trying to raise our spirits all at
44:05
such a difficult time. Well and the truth we do it for that basically
44:09
to get together, to gather people from the audiovisual activity. And good to
44:15
move on. And moving forward exactly at a good time you participated before the
44:22
film law, that is to say you formed parts after and until now how
44:30
you see the panorama. And it' s a moment, the truth I
44:36
don' t know is half. Sometimes I say some, some officials don
44:44
' t get the bullets, then put people who don' t know about
44:49
the media and don' t want the cultural issue because not only say it
44:55
' s against INNK or against audiovisual, but in general, against a whole
45:01
form of cultural expression in a country that has a very particular characteristic Argentina,
45:06
with the theater, with the literature, with the cinema, in short,
45:08
with a lot of things. That' s why I' m saying it
45:13
' s not going to be easy for them and it' s not going
45:15
to be fans for us. But the moment is not an easy moment,
45:16
because practically the link is closed and let' s say no, it'
45:21
s not, it' s produced, it' s inactive. Sure,
45:22
yeah, yeah, exactly. The audiovisual activity is practically paralysed and in the
45:28
activity for the paravised visualite, except for the series that are filmed from platforms
45:32
or some film that had some kind of resources. Anyway, let' s
45:37
say audiovisual activity in Argentina was always a mysterious and magical medium. So out
45:40
of the blue, look at the number of movies in dogs, which are
45:45
movies that we made yesterday, but they just got rewarded, being the prize
45:50
of the one in the criticisms of criticism. Yeah, so it' s
45:57
not easy, but it' s not impossible either. It doesn' t
46:00
exist. No so we' re going to go ahead and happily then Dack
46:05
is with this program celebrating the ten years. Victor Dinenson, President of the
46:10
Dack Foundation. Thank you so much for this presence here on GPS Audiovisual Radio
46:17
and well, for congratulations on this tenth anniversary. Thank you very much.
46:22
We continue in GPS Audiovisual Radio Federico Olivera premiered as director and playwright the background
46:46
of the scene that is presented in the Portón de Sánchez on Saturdays at 19
46:53
o' clock and that addresses the game of tensions that is unleashed between three
47:00
brothers at the moment of facing a limit situation. We' re with Federico
47:07
Libera. Thank you so much for joining us here on GPS. Radio Federico
47:10
is being audiovised. Thank you, Julia, for inviting me. Well,
47:16
how did the background of the scene arise and how did you get around the
47:23
temptation to be author and director, but not one of its protagonists. That
47:30
' s a good question. You know that a little bit the origin of
47:35
the background of the scene arises on the basis of a family anecdote that is
47:40
my father. He has a renion transplant and I had to accompany him for
47:46
a long time and in the face of what I had to live, I
47:57
began to write the play that, obviously, in principle the protagonist was,
48:01
somehow my alter ego, but as he went forward, I realized that there
48:07
were so many things that happened to me based on that episode. There were
48:15
several I say then there I made the decision, when I was writing it,
48:22
to divide it into characters and then, there, somehow I felt that
48:28
well, I stopped being a little bit in the play, as you don
48:32
' t know, I was the center of the story. Then and there
48:36
I already started to take a distance and, obviously, to get more freedom
48:40
when it comes to writing, because I could somehow stick harder to the nail
48:46
of the negator, of the one who has a quarrel, of the one
48:51
who is afraid, of the one who wants to leave, of the one
48:53
who wants to be, of the one who wants to help. So,
48:54
every character, somehow, who aspires to something that happens a kind of machine
49:00
deup. Let' s say something happens that goes down and solves everything like
49:07
some kind of agricultural tragedy, where, well, this wasn' t so,
49:12
but it was another way, and well I allowed myself filming somehow is
49:15
that idea not as something that lives outside people. Then we better explain what
49:21
the statement is about. But there is an external agent who intervenes on a
49:25
fact of this reality, which is that they are in this waiting to see
49:31
whether or not they do the transplant and whether or not it is saved.
49:34
You know the mother, an omnipresent character that you have to take care of
49:38
and that everyone is aware of then in some way. There I began to
49:42
distance myself from the main character, because conflicts were atomized and I saw myself
49:52
as a director, I didn' t see myself as much as an actor
49:58
anymore. Well, just for and all this filming stuff you mentioned. Only
50:07
the background of the scene has the particularity, the peculiarity that, in the
50:12
face of this limiting situation faced by these three sisters, there is a filming
50:16
of a horror film that crosses the scene and I would say that stripping it
50:23
of dramatism adding to it exact humor. There is a tribute to cinema there
50:32
also definitely. Yeah, yeah, yeah. It is. You actually saw
50:38
that when you write, you don' t know who writes. It'
50:43
s like you propose or at least I don' t propose something, and
50:46
then you start writing a part of me that I don' t know where
50:52
it comes from anymore, and obviously it' s being administered so it makes
50:55
sense. But it is as if the unconscious wrote by one as an intangible
51:00
part. And I have a very close relationship with cinema, because I started
51:07
working as an assistant director. There' s just a character who' s
51:10
an assistant director in the play and I was a long time assistant. I
51:15
suffered because the truth is that it' s a very ungrateful role. He
51:22
is guilty of everything and receives no congratulations for any merit, let us say
51:27
for any purpose, but it is always with contingency the problem, which is
51:30
not solved, which to whom one must convince others to do something else.
51:37
He' s a character like quite ungrateful at the same time very attractive because
51:46
he doesn' t have any plugs in asking anyone anything. So, yes,
51:51
it' s a tribute to the cinema, because I look very reflected
51:55
in that character I identified myself, and that always seems like some outside people
52:04
interrupting what' s happening to you. An example for the actors is that
52:07
we are sick and we have a flu and we have to go out on
52:13
stage, just like we have to go out and shoot the same. It
52:16
' s very hard to get around that and you don' t know.
52:21
I remember a funny anecdote. I once did Hamlet, in which Manuel and
52:28
Ed Babney led it, at the Cultural Center of Cooperation and in the final
52:31
Hamlet dies. Yeah, this one dies because well I pink it with the
52:39
sword poisoned by laertes and dies and I caught a attack from everyone being dead
52:45
and it was very funny how to avoid that that finally nothing was noticed.
52:51
But you feel like they' re all looking at you saying good to the
52:54
dead you can power us, but well, that' s kind of like
53:00
fiction. I feel a little bit like it' s messing up reality.
53:07
And yes, I think it' s a good tribute to this assistant director
53:14
who crosses the scene and has the patients as if they were actors. No,
53:17
and that improbable, passionate kiss between two people who don' t even
53:25
know each other, are also references to your work as a film actor.
53:30
And of course, yes, yes, because it' s like you'
53:37
re suddenly getting carried away and you start to be like some kind of nebula
53:44
that you don' t know what you' re doing anymore And, for
53:49
example, these two people who don' t know each other are encouraged,
53:53
they have no connection to kissing, kissing and passing a threshold somehow because they
54:01
have and something is transgressed, because there' s a kind of tacit law
54:08
of good evil that one could think of as some things aren' t done.
54:12
Some things. Yeah, you' re listening to me. Federico Olivera
54:25
froze the picture hello. If you listen to me, yes, I stayed
54:37
alive or I froze, you' re frozen. But you were explaining what
54:43
happens to people, good and evil, who confuse what is right and what
54:47
is wrong in some clear way, is like a permission that the performance grants,
54:52
I imagine, to transgress those exact limits. Yes, yes, yes,
55:01
yes, the performance allows you that and somehow for this character Damian,
55:07
who is very subject to his wife, it is as if there he finds
55:15
a way out to be someone who does something different. Yeah, yeah.
55:22
In fact, the guy thinks he' s a good actor. Finish it
55:25
up. Yes, yes, of what a c is and you have to
55:30
do that and what your vocation is. Yeah, yeah, yeah, well,
55:34
the action takes place in a hospital that' s being dismantled. There
55:39
is no metaphor or you will tell me about the situation that culture is going
55:45
through right now. Yes, of course, I have that feeling, although
55:52
the work I' ve been working on for quite a while now, it
56:02
works perfectly as a metaphor for scrapping and this kind of fumigation with glyphosates about
56:12
culture so that everything dies is like an idea of itself, an idea as
56:19
with the intention of shutting down a sector because because you don' t want
56:30
it to be thought good, we go to the land of the population,
56:35
but a false freedom. I don' t understand what freedom I' d
56:38
be talking about when just what' s prospicating us is that freedom. And
56:45
that of not having a voice of its own, of not having a people
56:50
who express themselves and who always need incentive support, is very vulnerable. Our
56:58
sector, I suppose, as it happens to you. The same is true
57:01
of education and science, as three sectors need yes or yes, this State
57:07
support incentives, to promote policies that make that strong, which, moreover,
57:16
obviously, later in the short or medium and long term. It is also
57:24
economically beneficial. But you can' t think of things in just materialistic terms,
57:34
because I always think when you' re with a child, what you
57:39
want is the best. He wants you to be able to express yourself,
57:45
to be happy, to have your own idea, to give something to the
57:52
world and to yourself. And you don' t feel like I sing that
57:58
your instrument, that I do a sport, are two things that really do
58:05
to the essence of the human being. And, well, all of a
58:07
sudden this idea has come up that that doesn' t exist. It seems
58:13
to me very but very harmful and I worry that there are people who want
58:20
that is kind of like a grudge like a resentment and that wants to see
58:27
someone bite the dust, not like seeing someone suffer for their own suffering.
58:31
That' s one is something very inherent of the human being, not as
58:37
morbid consumption. We could say like that thing. From ah well, I
58:40
laugh at the one who suffers, from the one who falls, from the
58:47
one who falls then because I become strong. I become strong because I see
58:52
someone suffering is regrettable and worrying. That is why, from the places of
58:59
driving and justly, trying to have a good deal towards the neighbor towards the
59:07
other, that is something, it is a mission that also has to have
59:14
people who are in places of decision and power and that incentive, because if
59:19
we encourage another, we go right to the Middle Evo and the Robano Circus.
59:24
Indeed, it is, but, fortunately, there are good artists,
59:30
scientists, creators. Federico Libera, author and director of the background of the
59:37
scene. It is a valuable work of IT and with this interview with Federico
59:44
Olibera, then we said goodbye until next Wednesday. Thank you for joining us
59:51
and you know, as we say, always watch Argentine cinema. See you
59:55
next week. This was GPS audio- visual Radio. We' ll be
1:00:21
waiting for you next Wednesday at 19 o' clock by radio thirty- three cape.