Latest / GPS Audiovisual / GPS Audiovisual T05 P28- ENTREVISTAS SERGIO ACOSTA, JULIO LUDUEÑA, TATIANA MAZU GONZALEZ, CAMILA TOKER

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GPS Audiovisual T05 P28- ENTREVISTAS SERGIO ACOSTA, JULIO LUDUEÑA, TATIANA MAZU GONZALEZ, CAMILA TOKER · GPS Audiovisual

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GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema,
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in the eyes of Julia Montesoro, a treasure, a program with a gender
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perspective that nucleates the country' s film industry. Argentine cinema will never be
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the one it is until now. We, from GPS Audiovisual, continue to
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bet on culture as the fundamental pillar of a society, a culture that is
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plural, accessible, diverse and has State resources for its development. Welcome to
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Gep S Audiovisual Radio, with the journalistic production of Norberto chap En, the
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technical operation Gonzalo Sorais and in the driving who speaks to them, Julia Montesoro,
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the director, producer and screenwriter. Sergio Acosta has been the president of
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the Institute of Audiovisual Arts since March. In recent days, the agency launched
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an ambitious call for the audiovisual sector throughout the country to four of its lines
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of the comprehensive promotion plan. These are the development of feature film and series
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scripts, the development of feature film and series projects, short films of first
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and second works, and community and original short film. We are with Sergio
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Acosta opening this new radio audiovisual GPS broadcast. Welcome to Serge, thanks for
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joining us. How are you? Hi Julia, thank you very much,
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very well luckily. Well, the registration is open for these four lines of
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promotion. What are the major developments in the proposal? Well, first I
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want to put a little context that this year the bill of visual promotion of
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emissions is ten years old, that is, the institute is about ten because
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it was implemented two years later it is going through its ninth year of management.
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Last year, we launched the new promotion plan, a comprehensive fominto plan
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that contemplates both the stages of production, all stages of production and all formats,
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from cinema to series and other audiovisual formats. We did not also say
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all that is distribution and marketing. So you plan or plan last year,
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end of year and this year. Well, by the middle of this year
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we could finally start to launch some lines, since the national and provincial context
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has changed so much, these releases have been delayed a bit, but well
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we are happy to be able to launch them in this very adverse context,
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which means a little air, a little hope for the audiovisual sector. So,
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as you said, Julia, we launched four lines now, the first
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of July, which is going to be open until the 30th of July and
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then, first of August, we open another four that has more to do
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with the student short film, the experimental film, the community cinema. That
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' s a little to mark these current calls. The focus is now solely
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on promoting the audiovisual industry, missions or convening audiovisual producers and filmmakers from all
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over the country. Well it happens to you that our promotion plan has two
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main lines, which one is the call and others the continuous window in the
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continuous window. We receive it is open all year round and we receive industrial
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feature film projects or industrial series in co- production with some missionary, some
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producer, missionary producer who already have the interest of the Inca or other demonstrable
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source of funding. Producers and producers from all over the country may not participate
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there. In fact, in these ten years of the law missions have had
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many, many filmings, many films from Buenos Aires, Córdoba, from different
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places that have made coproductions. Then the continuous sale is open and clearly for
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the whole country. What are the calls are aimed primarily at missionaries who do
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not take away that they already have an agreement or say a co- development
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agreement with other provinces or someone from another producer in the country is aimed more
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at the middle segment than that emerging segment of professionals or producers who are still
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filming us. That' s not why it launches developments. We want this
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point where the Inca is not. The Inca has not stopped the production throughout
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Argentina. What we can do also with the amounts that authorized us from the
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province. It is good to encourage the development of new works or works that
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are already in folder, but that need to say a financing to be able
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to rewrite the script, go through a doctor script, assemble the folder,
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build the design of making translations and also not to encourage short films, which
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is a format that within the province the field of visual constantly asks for a
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line of short films. So that' s a bit of a pedrama.
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Not now what a producer or filmmaker is looking for in missions, why they
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choose missions. Well, in principle we were chosen by the locations, by
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our context, mission, a very strong forest conservation policy. If you look
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at Google missions raps it' s all green around gray sobo to conservation policy.
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It' s also good for the castrates. We' ve had footage
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of reality shows and international advertising. Thanks to the waterfalls, I tell you
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Zoo there is a very strong installed capacity in all these years of audiovisual development,
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there are technicians to cover three simultaneous lines, there are local actors.
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We also have an island of colorimetry that belongs to the industrial park in the
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Alliance, with the Institute of Visual Arts, the IABIM, the coproductions can
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access that island of first level. Finish the Eteo finish the DSP. All
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he has to pay is the colorist. So that has also attracted quite a
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lot of productions. And now this new management is working on the points in
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the Institute' s promotion management with Santiago Gravante. We are quite half together
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in this management. We are creating and working on new financing tools, such
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as cash rebate. We' re working on a cash- revenue bill that
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involves the return of incentives, the re- entry of contributions, the impressions
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that come out in the province. Let' s say we understand at this
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more industrial stage, at first, I think it was much more focused on
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cultural development and the development of an image of one' s own, of
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an identity, that this is going to continue to be. But now,
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in this new context, we understand that we need to create new financing tools
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to make the province tempting, for large productions, for platforms. And another
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important line is interprovincial agreements. I mean, the INCA is gone. Then
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we began to look with the provinces that we have the law of cinema or
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audiovisual law with more affection and we are talking with Cordoba, which has the
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audiovisual town of Cordoba. There are intentions with Jujuy, with Salta, with
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Río Negro, since we share the space of the INCA Federal Assembly. There
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' s a challenge from these institutes. We understand that it is important to
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co- development, co- production, co- distribution, and for that
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we are working and generating these links in order to support our industries a little
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bit. That is what we are currently working on. Besides, there are
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many other things, but good are the most important. No. Yeah,
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yeah, yeah, yeah. I understand well. I was just going to
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ask you how it impacts on the broadcast promotion plan, the audiovisual promotion plan.
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This restrictive policy is financing, I would say, that the Inca is
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pursuing. The truth is, it hurts every province a lot. It'
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s a regression, let' s say, because all the productions of all
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the industrial fiction and documentary films that have been filmed here are supported, with
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the promotion of INCA. So, ever since the ia BM appeared, he
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was always a player who contributes, let' s say, ten one,
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not as we think, ten percent budget. Then the producer could put together
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his financial scheme with the INCA, with the ia BIM in missions, with
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iber media and get vermedia with own funds, with equipment according to production,
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social production. There was not a very interesting and virtuous scheme between the public
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and the private. Yeah, disappear the INCA right now. Many films that
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were about to be filmed stopped, films that are in pre- post-
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production also stopped because they were not there. They were paying us to buy
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them just like you did. So the truth is that it has completely paralysed
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the industry us, with the ia BIN our annual budget. No, no,
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it doesn' t give us enough to reactivate the filming industry. That
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is why we have decided to bet on the development and the short formats in
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this instance, not this year and clearly also not only harm the shootings,
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but also on the policy of partnership that is beautiful every year, contributes to
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the provinces with ten percent of the average cost. We' re talking about
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ten million now a year. Yes, and let us highlight, on the
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other hand, so that people are a little clearer. All this is not
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that what happens that this co- participation comes out of the Film Promotion Fund
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that Argentine cinema has by law, so it is not that people are making
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an extra contribution and that this extra contribution is being derived to the provinces.
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Graciously, to put it in some way, this is not accurate And yes,
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as well as saying that, those funds go to the provinces to keep
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the immobile joke of the Inca, which emerged to Inca and car the provinces
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have to be Free of charge, let' s say it was always a
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shared expense, a shared responsibility also for festivals and also for promotion. So,
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unfortunately, President Link' s vision now, Carlos Pirovano, is that
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this policy is no longer going. And well, we' ve talked to
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him about the Federal Assembly. We have tried to argue to him why it
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is important and why it is not an expense, but rather a policy of
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promotion, that tends the provinces can also have a development and have an income
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to promote the exhibition. So for some provinces it means enough and for others
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it means a lot because they have no film law or audiovisual promotion law.
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Then, among other things, it is also defined in national and provincial festivals.
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Let' s say, it' s a policy of that articulation of
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the entire Argentine film scheme. Yeah, absolutely good. As a counterpart,
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missions seek to strengthen the audiovisual sector through public policies such as Venís, commenting
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not on what is all a job like that began many years ago, twenty
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years ago, if now, ten is an institute and the law and it
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is something that happens here, not as happens in other provinces that there is
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a group of people who like cinema and begin to mobilize and generate public policies.
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Now, as a counterpart, the promotion plan, the Comprehensive Promotion Plan,
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is a sustainable policy that has come to remain in the midst of this
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adverse context. I' m not referring specifically to the province. Yeah,
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us. It is an ambitious plan because even as I told you, all
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the lines, of all the formats, all the durations, all the processes
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and that it will need in the future, year, to grow that fund
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of provincial promotion. And that is also why we are working on new tools
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and new laws to include the private, to include patronage, to include rents
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from the province through different mechanisms, always with the view that the contribution of
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the public, the contribution of the State, benefits audiovisual companies, audiovisual SMEs
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and that allows it also to travel, allows it to generate coproductions. We
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' re on missions. We' re next to Paraguay, there' s
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the or Brazil. So we have a lot of relationship with our neighbours and
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politics is generally going that way in co- production with these countries. While
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we are at a disadvantage with our change and our currency. We' re
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looking for a way to make up for it, but we know we can
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' t produce alone right now. So every time any tool that becomes tempting
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to the province or provinces will clearly be welcomed. Well, we' re
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with Sergio Acosta, President of the Institute of Audiovisual Arts of Missions. Let
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us then remember how information is accessed to participate in these calls. Sergio,
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please. Well, we have the official page of the ia bim which is
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iabim Arvince. It is also the instagram of Liabin that is always very active
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and is always all the information there and links are shared through the calls in
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that same instagram. Well, and there you can find on the page all
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the information, the bases and conditions and the way to apply. But good
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to the whole country that I know that this medium and this program reaches the
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whole country, yes they also had good excellent to tell everyone what they are
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hearing now and they are seeing us looking for a producer, a missionary producer,
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that generate a bond, that generates a strategic alliance, because it will
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always be a missionary who can apply to the fund of promotion of missions or
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the summons really already continuous. So it' s important that there is always
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a missionary leg within a project so that it can be applied to the bottom,
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so cidentify them to that, not that they look for us and generate
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new strategy of new alliances. Well done then this invitation to producers, filmmakers
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from all over the country and if there is from abroad, also so listening
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to us, and well, we will be attentive to everything that happens then
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around these policies of the Javin. Sergio Acosta thank you so much for joining
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us and, well, we' re still in touch. Please, thank
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you very much, Julia for the space and until the next hug. We
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' re still on audio- visual GPS. Radio Craft. It can'
17:37
t be that you know about the girl who came to yesterday. Maite I
17:44
' m sorry he' s looking for Daniel the lifeguard, he' s
17:48
not drowning someone. Yeah, I' m all the same. The same
17:52
thing happens to all of us. They don' t sing Canticenter that something
18:14
is going to change my life. A wreck a Vanina movie is a wreck.
18:21
Premiere in halls 27 June to face tomorrow. It can' t be
18:30
cone faith to him, but I think early nine you' re so dull
18:33
about the inauguration of the new temple. You want me to take care of
18:36
the last of Sunday. Let' s stop at the steak. We can
18:40
' t go straight. I can drive if you' re tired, you
18:44
' re not for the fontal of missing to teach you things. We'
18:53
re still walking. Sure, there' s a town close to patience.
18:56
The good lord is not going to abandon us now. Listen, you'
19:02
re a Joseph or whatever I need, his wife says no. No.
19:11
It' s not my wife, my daughter Elena, how much they calculate.
19:17
I need a stand- up. Sir, I get it in olaca.
19:18
Don' t worry about us. We have time and depth you are
19:26
nowhere to be praised. Lord Cions, brothers, blessings, brothers and sisters,
19:37
but what is your name? I' m a kid. It doesn
19:40
' t give you the shock, uh, it doesn' t give you
19:41
the shock. It' s worth me just like Lenny. God gave you
19:44
a mighty beautiful spirit. I' d like to invite Jos Emilio to come
19:49
here for a baptism where Pastor Saca is careful what' s sticking his head
19:55
in. There are many evangelicals in the people, just as there are you.
20:00
I didn' t go where the reindeer would be That' s eye
20:07
- guided. The wind that sweeps with direction of Paula Hernández, hailed in
20:15
Toronto and San Sebastián, the wind that razes premiere in Salas Thursday 21st March,
20:22
Hola Pablito. I' m look you remember. I thought of it
20:33
as a giant idea, which is to put the band together Watch Anda.
20:37
Please, I think you should apologize for those authorities. What are you really
20:41
talking about and after you passed you saw how they are here. But you
20:45
heard what those girls said to a Chinese guy who said rat if your husband.
20:49
What he wants a thirteen- year- old chick while they' re
20:52
stalking, he takes pictures so he gets proof, so he stays calm.
20:56
Why did you stop singing? I don' t know things about life or
21:07
three. I think Piti Miranda from Friday to Monday, a film by Maria
21:21
Victoria Menis starring Inés. Esteves exclusive premiere in Salas Hi, I silvio la
21:33
paula even with you. He didn' t call you anything, not because
21:37
he went to the doctor in the morning and didn' t call me.
21:40
He didn' t come back. I don' t know anything. And
21:41
weird, your brother, where you are, I don' t know.
21:44
I called the police. Yeah, I went to report it, but they
21:52
didn' t take it. I was told the surest thing has been helped
21:53
with the groom. That' s what he told you He' s still
22:02
wearing clothes, school, and the police. What did you do with all
22:03
this? Not even those are the Invisibles law with Leonora Wexler, Nes González
22:33
and Anton Ferrari, a Guillermo Navarro film with production of Rio Films, premiere
22:41
only in Salas. The Espacio Audiovisual Nacional issued a statement expressing concern for the
23:03
preservation of the historical audiovisual heritage preserved in the cinemateca of INCA. The document
23:14
is titled where are the thousands of films that the INCA had deposited in its
23:19
cinema. Julio Ludueña is director of Dack, Argentine film directors. He also
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shares this concern and we receive it at this time from GPS audio- visual
23:34
radio. How are you, Julio? All right, Julia Nice to greet
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you and the whole audience. Well, thank you very much. Equally good
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is what is known about the audiovisual heritage that the Inka has in charge,
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where the thousands of films are. Well, the thousands of films would have
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to be or at least were until Friday, until June 30, on the
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street inlet six hundred in a forest, in a building, a warehouse had
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rented the Inca a long time ago, where it kept in quite good condition.
24:21
The movies that the exact number we have is that were one thousand three
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hundred in the year two thousand ten. There were a thousand and three hundred
24:33
in the year two thousand and ten, when the law that created Prosinain was
24:45
passed and tried to consummate a cinemateca that in some way was never fully effective,
24:52
but those films were already there in those deposits. Those thousand and three
25:00
hundred films are films that should proceed at least that from the year two thousand,
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from the year nine hundred and ninety- four, when the new law
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was passed, that is, where each producer, each film holder was director.
25:21
Whoever was the owner of the film had to hand over the copy to
25:26
that is, the first copy finished to the Inca in order to put together
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precisely this national film heritage that is well worth saying is a world importance declared
25:44
by UNESCO, because that is how we are going to have our history,
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the history of humanity, is not true, that is, cinema is,
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in that sense, the most advanced archive that there is to keep it at
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this moment will also be the videos. But any movie. We, the
26:06
image we have of Rome, for example, is the one that Hollywood gave
26:08
us because there was no cinema at the time of July. So you think
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that' s where that heritage is catalogued and conveniently preserved. Yeah, yeah,
26:22
yeah, yeah,' cause we have pictures of them, that is,
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this, so that for you to have an idea, Julia Voice and
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the whole audience, every movie of that takes up the same space as a
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five- pound washing machine. To say, it is that we calculated that
26:44
in December of the two thousand twenty- three, on December ten, two
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thousand twenty- three, there were at least two thousand five hundred films of
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those, two thousand five hundred films, at least two thousand, their cans
27:02
were the physical size of a lava clothes to wash five kilos of clothes.
27:07
Then there may be others that from say two thousand, sixteen, two thousand
27:12
fifteen were already preserved on PCs, on hard disks or on small pandriks.
27:21
But, well, that would insume less space. But it means that basically
27:26
we' re talking about it taking a big space. This would be the
27:33
reason why the Inca would have, apparently according to the transcended ones that come
27:40
from the same Inca. But they' re not officers. Let' s
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say because they' re issued by quis that' s not true. We
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don' t have a record of anything coming out of the official style by
27:53
stopping renting that deposit. Well, our greatest concern and concern is where those
27:59
films that take so much space, but also have so much importance for Argentine
28:06
history and for the history of humanity, are going to be put. And
28:10
besides, we' re talking about movies. These cans, this space that
28:15
you define as a washing machine of five kilos, are not the cans of
28:19
films, nitrate films, which require a very special preservation, because they also
28:26
disintegrate. These films disintegrate, they disintegrate. I have the personal experience of
28:33
having exactly disintegrated material from my hands. There are many of those films,
28:41
a good example, since the Gaucha War, for here there are no more,
28:44
that have been lost, that have been lost, that there are copies.
28:48
Well, you can do miracles in that sense of getting them back,
28:51
but you have to have those cans. That' s just clothes. Let
28:57
us say the space they occupy to be able to preserve all that heritage that
29:04
is cinematographic, but, I repeat, it is historical, national and world
29:07
- wide. Let' s say make the good gar exactly now there are
29:14
or there were contacts with officials of the Inca, of this management or of
29:21
the previous ones to internalize on the actual situation of those archives. Yeah,
29:23
yeah, we' re asking for the information, let' s say in
29:30
the most official way possible and well, we hope to have it. If
29:32
we had it right now, I' d tell you, but they have
29:36
no answer. Let' s just say that' s what we' re
29:38
clear about. We don' t have any information, I mean, where
29:41
they' re going from. There were transcendences that could go to the second
29:47
basement of the enerc Yes, but the second is another of NERK. You
29:49
don' t have enough space first. And second, he sigmunded several times
29:53
exactly yes, it' s one of the worst places you could put it.
29:57
That' s why that material also remained with us when physically it could
30:04
still be on Lima Street. At some point there was talk in Corregime if
30:08
I am wrong about a container that was going to go to an army unit.
30:15
This was at the end of last year, this beginning of this year.
30:21
I' m confused. Or there' s something about him. No,
30:23
it' s not no, not you, of course, you'
30:27
re well informed and good, but we don' t know if that information
30:32
is a transcendent. We don' t know what fecke News is or really
30:36
isn' t true. Yeah. Yeah, yeah? Yeah? Yeah?
30:37
Yeah, that' s the problem. That is exactly what we are repeating.
30:41
It' s official information to see what the possibilities are. Let'
30:48
s say power somehow, act everything so we can recover. Let' s
30:56
say that movie of having somewhere, let' s say where to stop them
31:03
a corresponding place, because besides, it' s not easy at all,
31:06
it' s not easy at all. Yes, but, well, from
31:11
every country in the world let' s say, they have their cinemateca and
31:18
it' s a basic marriage of humanity. Yeah, yeah. We are
31:22
far behind on this issue in terms of being announced effective policies, and we
31:30
were coming very badly. We' ve always been bad. Let' s
31:37
say starting because the filmmakers themselves don' t have enough awareness of that is
31:44
and when we finish a movie, we dedicate ourselves to the next one because
31:48
of a vital need. Yeah, and good. So lots of movies have
31:52
been lost in the labs have been turned into combs. In his time the
32:00
inundated fire, that is, we have not been at all careful when we
32:07
started to have it. Let' s just say it came in solanas.
32:08
He was very busy at that and let' s say many others. This
32:15
law was removed from creating the pro- Sinai, but there was never progress
32:22
in having a truly proper place. In short, the size of a cinemateca,
32:31
why it is, for example, that of Mexico. Not certain,
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yes, yes, yes, absolutely good Julio Ludueña, who is director of
32:42
dak Entity, that integrates, among others, the national audiovisual space and this
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organization, this group that issued this alert regarding the conservation and where all these
32:58
films are. Thank you very much for this contact and well, any new
33:06
developments here are then many ways, Julia, of course, and hopefully we
33:12
can celebrate the appearance of this matter exactly. I hope it' s soon
33:19
and good. Thank you so much. Thanks to you, good night.
33:22
We' re still on GPS audio- visual radio. Thank you very much
33:44
every document of civilization. The new and expected film by Tatiana Mazo González won
33:52
the George Award to watch A Ugart, the second prize in importance in the
33:57
international competition of the Marseille Festival. We' re with Tatiana Mazo González.
34:04
Well, thank you so much for joining us and congratulations for this recognition.
34:09
Tatiana how you are. All right. Thank you, Julia, for inviting
34:17
me for the affections, greetings and dissemination. Okay, all right, here
34:22
' s a half- new arrival a couple of days. Aha well what
34:25
every document of civilization that was premiered worldwide in Marseilles is about. Every document
34:34
of civilization is a film that runs entirely at a crossroads of avenues in general
34:42
Paz and Emilio Castro, on the border between capital and province, between the
34:45
party of the slaughter and slaughterhouses my neighborhood to the squadron of my house.
34:52
This intersection of avenues is the space in which by the year two thousand nine
34:58
was seen alive for the last time Luciano Rua, disappeared and murdered in democracy
35:06
by the police Bonaerense. The film, in some way, does a sort
35:13
of poetic excavation in that space and goes across an approach to that space and
35:24
memories that somehow exist silenced in a space of everyday transit such as this one
35:30
and crosses them with the stories of Luciano' s mother and the film opens
35:36
up to other universes that perhaps have to do with the question of thinking about
35:44
the future of teenagers in the popular neighborhoods in our country, for example,
35:50
and the possibility of building those futures through, for example, literature or cinema
35:57
or organizing it in the collective struggle. How the puzzle of the film was
36:06
configured, given that it started to roam your head a decade ago, I
36:10
understand not how the film was mutating until this final result that just premiered in
36:19
Marseille. Yes, it was literally a decade ago, because about two thousand
36:25
fourteen, which is when, after many years of struggle, the family finds
36:30
Luciano' s body buried as in the Chacarita cemetery. I was just moving
36:35
here where I live now is a family home in which my maternal family lived
36:39
since one thousand nine hundred and sixty- five. And for me it was
36:43
very strong how to start going through a space every day that had inscribed and
36:49
silenced this violence and somehow I needed to make this film in order to live
36:54
here. Almost the beginning was a short film, it was a shorter and
37:00
more purely observational film of space. But then that wasn' t enough.
37:09
The daily contact with this space, with this story, with these memories,
37:15
began to make the film somehow grow and transform. I began to record the
37:22
conversations with Luciano' s mom and that enabled a political and poetic imagination that
37:30
for me was necessary to unfold and well, it was also transformed into a
37:35
film that is somehow also a conversation, and in those conversations with Luciano'
37:43
s mom, besides talking in relation to state and police violence, began to
37:47
emerge as a affection and an interest that Luciano had in the literature of Julio
37:55
Verne, and that opened up a very beautiful universe for me in terms of
38:04
thetic and political for the film that, as I said before, had to
38:09
do with this question of literature and construction, of being able to imagine a
38:12
future, another future, together, not then. This enabled the film to
38:19
begin to cross with just other universes that have to do, with childhood,
38:23
with work, with archival material, with science, vision and truth. It
38:31
was a process that, luckily, time allowed the film to mutate and grow
38:37
and debtham until now, ten years, after years now, all that time,
38:44
in this decade, at some point maybe you thought or thought the project
38:52
could fall. No, because it' s something that happens to filmmakers in
39:00
these long ways, too. Now, at what point did you take the
39:08
ultimate impulse to become the movie? At one point I was making three films
39:15
at the same time, that is, this Little Red Riding Hood and Rio
39:19
Turbio had all three projects open, and this was the project that had no
39:24
funding yet at that time was the project that was being done more than Poquito
39:30
once I already premiered Capelucita Roja and I premiered Rio Turbio. In the middle
39:34
of two thousand twenty, also in Marseilles we finally met with Manuel Embalse,
39:40
partner and collective companion Artes Murtocines. We started editing the material that I had
39:45
in this film at certain times. A little pandemic unemployment, the truth,
39:50
and that allowed us to come to a first cut of the film at a
39:55
time like unexpected and reconnect with the material, also at a time when I
40:00
kept it. There I was almost three years in a record, but a
40:07
certain premiere, currio and also a certain increase in police violence that was experienced
40:13
during the quarantines made me reconnect with the project. We arrived at that first
40:17
cut, and that first cut mounted from something more intuitive, was the one
40:22
that allowed me then, for example, to write a project and present it
40:27
to the Film Institute, which was like financing you, which ended up financing
40:35
well thanks to the now non- existent public funds for documentary development the film.
40:39
And then we were working almost three years, also intermittently, until last
40:47
year we won the Working Progress competition at the Mar del Plata Festival, and
40:52
that allowed us the last push of resources we needed to finish nothing. Public
41:00
funding instances were a fundamental means, but anyway, it was also very fundamental
41:07
that the film I say is not just me, but it is the collective
41:13
of which was part dead cinema where work collectively, cooperatively and community in general
41:19
also makes it possible to sustain projects so long in time surrounded by a fabric
41:27
of sensitive and friendships that underpins us when we fall also clear, clear,
41:36
clear and that are behind the same goal. Not good, your cinema is
41:43
documentary and it' s political, and that' s consistent with your way
41:50
of thinking. That same coherence allowed you to express yourself before the audience by
41:57
winning this award in Marseilles, of the current affairs of Argentine cinema, what
42:06
questions you are interested in and concerned about this moment and about the future of
42:12
cinema and culture. It is impossible for me to break down the future of
42:20
cinema and culture, of the general future of us, as inhabitants of this
42:23
country, as workers in this country. Personally, I am sad, distressed
42:29
broncada. It' s a time when it costs Sometimes I say the ones
42:36
as I commented when we actually won the award almost eighty years of rights earned
42:45
from different sectors, from women and dissidences, workers, retirees, environmental projects.
42:51
I say all kinds of things that I' m sensitive to and have
42:54
to do with being together in this world. I feel like they' re
42:59
being terribly attacked, but, well, I don' t know, it
43:04
' s the cycles of history. At this point we arrived here for a
43:06
number of things that now would not be very extensive to analyze, but I
43:14
think it' s time to join together and face this which is happening without
43:19
going further and now going specifically to the issue of cinema. That, as
43:23
I tell you, is a film that was made entirely with public funding,
43:30
in addition to our contributions, nothing out of affection and affection for the artine
43:37
but today, for example, a large part of the technical team, but
43:42
the vast majority of the technical and creative team of the film, is unemployed.
43:45
I say by setting a concrete example. Even I have two weeks of
43:51
work now and then I have nothing else. So the picture situation is that
43:54
today we can be internationally releasing a film with an award. It' s
44:00
very important like this for what documentary cinema is and maybe we don' t
44:04
know how we pay next month' s rent. As it happens, this
44:07
happens with a lot. I say there is this question of the labor and
44:10
then, on the other hand, what cinema means in terms of memory,
44:15
of construction, of historical memory, of identity, of questions about the reality
44:20
that surrounds us. I say for now that Guinea is literally paralyzed, there
44:24
is no support whatsoever And when we say it, well, it has already
44:30
been said from the new Presidency of the Inca and so on that the cinema
44:36
that is going to be supported is a cinema of a more purely commercial character
44:42
and two hundred films were being released a year and, well, many less
44:44
will be stopped. And that for me is a loss of the justly cultural
44:47
richness of the debate of the construction of memory of views. That' s
44:51
what I' m interested in in movies. Well Tatiana Mazo González, director
44:59
of any award- winning civilization document at the Seya FIEEDMAC at its world premiere.
45:07
Thank you for joining us I embrace you loud and good for more than
45:13
five Argentines. Thank you so much. See you next time. Here we
45:22
will be in GPS, audio- visual, radio or Dack Professional Extension Center.
45:55
He opened the inscription for the workshop cine guerris of the idea to the
46:01
action that Camila Tucker will dictate for four classes every Wednesday starting from thirty-
46:08
one from eighteen to twenty hours in online modality. The workshop will be held
46:15
free of charge and registration takes place until Tuesday 23rd through SEP Duck. This
46:24
is c pc org. We' re with Camila Tucker, who' s
46:36
dictating this workshop. Thanks for joining us. Camila, welcome. How are
46:39
you doing, Julián Bueno? First of all, there is a disturbing concept,
46:46
at least I would say that refers to a space of unconventional reflection in
46:52
what the idea of guerrilla cinema consists of. Ni Risa is a cinema,
46:59
it is not a war cinema, it is not a poor cinema, it
47:04
is not a cinemateur. It is a way to understand cinema from what I
47:08
do have, from the possibilities I do have, and to build From that
47:14
it is to go out on the court directly and it is a production system
47:22
that, although I have been working it for some time in independent cinema,
47:25
in general it goes down in a guerrilla way, to put it in some
47:30
way. Today, it seems to me that it is a tremendous possibility,
47:36
within our context, to continue to do no and do as resistance. Also
47:43
the concept of doing as resistance. Now those interested can develop fictions, as
47:52
many fictions as documentaries, or there is some kind of not. The idea
47:58
will be to work with the projects prices sitting, evaluation of the projects to
48:04
be able to advance with them in a feasible way within an independent collaborative system
48:10
that can make us. Being able to do has more to do with yes.
48:19
I can do that with what I don' t have to do,
48:24
put into the practice of film aha and what is the primary goal of the
48:32
workshop almost that you' re saying, but well, I think so.
48:35
I think these days, let' s say, though, for me,
48:38
it was a way of doing within a system that more or less worked with
48:46
all of its conditions. It was a way to do it despite the times
48:51
of production, the money of production, the great system of production of cinema
49:00
and arriving so much, this comes from upa and comes from the most films
49:05
made. It' s this grab- and- say thing, well,
49:07
I have a story to tell. I can do it because I have this,
49:13
this and this in a collaborative team and today I find that an act
49:16
of resistance. Now, as a teacher, you are interested in addressing this
49:25
type of workshop space as one to promote individual practice or collective creation. That
49:36
' s not why guerrilla cinema was saying it' s in general. It
49:37
' s either more like a collaborative cinema. It is to recognize the possibility
49:44
of a team of the sum of the different parts and to be able to
49:50
generate, from that creative human capital, a production that will not have others,
49:54
some, other resources, will not have, but to find what are
50:00
the resources and strength of a project to be able to carry it out Despite
50:04
a context. I think it is important to note that this is not an
50:08
independent cinema, it is not a cinema that is contrary to the national institute
50:14
or to production, with all that is involved from film workers fundamentally is one
50:23
more leg, what happens is that, in this context, it is a
50:27
clear indispensable leg after carrying out the projects. In fact, I' d
50:34
add this on my own. Let' s say not you are going to
50:38
dictate this workshop in the context of Dak, Argentine film directors, which is
50:45
precisely the entity that nucleates the greatest number of directors and directors of this country
50:51
and which, to a large extent are industrial productions historically, so that if
50:59
Dack did not agree also with this form, this look that your guerrilla film
51:05
workshop proposes, I suppose, would not be generating this space. They'
51:09
d be giving space. No. I believe that today people do as something
51:14
necessary to see our colleagues, as something necessary the development of projects beyond an
51:21
adverse context that does not mean not to fight for those things that we need
51:25
to fight again for in that and not once. But I do find a
51:32
way that this does not stop us in production and in the creative and in
51:36
collective work, which for me is the romance of cinema in any production system,
51:42
but more in a small, independent production system, with the strength of
51:47
resistance and of being able to do. Despite the context, that seems to
51:53
me to be basically what we are going to work on. Yes, they
51:55
are the strengths and weaknesses of the projects presented so as to be able to
52:01
carry them out and play a bit of the guide through my experience, to
52:07
devolve them some of this that I have been testing and collaborating in the development
52:14
of these projects. I' m sorry, I' m sorry, I
52:17
' m sorry. No, no, no, no, no, no,
52:17
no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no,
52:17
no, no, no, no, no, no, no, no.
52:19
No, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no, no, no,
52:19
no, no, no, no, no, no. No,
52:20
yes, no, I remember already please, I don' t say if
52:23
you were guided by intuition or by any specific data. You think that this
52:30
year the projects are going to be crossed by some particular theme, and the
52:38
context is a tremendous theme. I don' t know how far we'
52:42
re going to be able to reflect in such a short time and on the
52:45
state of shock we' re in. I hope so. Cinema, like
52:47
the whole place of art, is a place of reflection through aesthetics, through
52:53
the narrative. The idea is also not to generate a single look and a
52:59
single theme. This always happens you saw with good. The new Argentine cinema
53:02
happened to him not like he was suddenly looked at because a theme or an
53:07
aesthetic is not the idea. Homos generate aesthetic themes, but like planting a
53:15
little the seed of self- management and going out on the court. Basically,
53:22
but I don' t think so, I think good the theme,
53:25
just like the Pandemia movies came out when we were all in that mistake,
53:30
with more or less reflection, but acurated for the moment. I believe that
53:35
at this moment, some of all this that we are living from this tremendous
53:40
crisis in every way, but good in the sense of our profession, in
53:44
particular or culture. Education will be at least a mile away, but as
53:49
the main theme, as the context of the new narratives. It' s
53:54
kind of what happens in general. That doesn' t mean it' s
53:57
just one aesthetic. Some will be treated from the genre they come up with
54:02
or from the particular aesthetics of each one, and this seems to me to
54:07
be interesting. Also, a production system should not involve an aesthetic today.
54:12
We are formatted with a very silvery aesthetic. Well, that' s what
54:16
I was gonna tell you. That is the platform to form just to be
54:24
able to develop poetics and particular looks, and not that it is a system
54:30
of production in which, because it is large or small, it imposes a
54:36
particular narrative. But, obviously, we will all be through this reality and,
54:42
at the end of some other way, we will be reflecting on them.
54:45
When I was just going to ask you another part of this question is
54:52
to what extent this adverse juncture affects the workshop program. In the program of
55:00
the Workshop, yes, I think you have thought to develop ah no yes,
55:05
well, I think the idea of just going down to the workshop this
55:10
accumulated experience has to do with this reading of the context and say good.
55:13
But there is something that I am accumulating, that we are accumulating with my
55:16
upa partners and I in my other films also there is something that I am
55:21
accumulating from an independent experience that in some way or other, have given me
55:27
the possibility to make my films and in this context, I think it became
55:30
necessary, made or lowered a little the cable of good to translate this experience
55:37
into a workshop where we can expand this idea of doing to others or three
55:45
others that are in this core of I cannot put my idea into practice.
55:51
I can' t make the movie I want to make. Well, in
55:54
what way we can do it and find those clear paths the matter, the
56:02
kid of the question is there, not in what way, but in time
56:09
exactly move on. Many of us don' t have to see in the
56:16
reality of being or waiting for infinity while fighting. I think that' s
56:22
why I say that and that' s what happens in Argentina. I always
56:24
think of these things, like in times of crisis there are lots of places,
56:30
cultural centers, small screens. Let' s say, there is a
56:37
latent resistance also in the population, not only in those who exercise or make
56:40
the films, but also in a need to get together, put back our
56:47
own contents, reflect on that and identify with our own contents. And I
56:52
think it' s kind of like a more tremendous crisis good, you have
56:57
to look for the place of production as a place of cooperation, resistance and
57:02
thought. Well, Camila tokera then in charge of the guerrilla film workshop,
57:10
from the idea, to the action of the Dak Professional Extension Center. Record
57:15
registration is done on the CPC CEP dack Org site. We must hurry because
57:25
there are not many vacancies left. It seems to me I understand, so
57:30
please attend exactly Camila. Thank you so much for joining us. I'
57:37
m sending you a huge kiss. Julia, always a pleasure. We'
57:40
re saying goodbye to you. Likewise with you we are saying goodbye to this
57:47
new audiovisual GPS broadcast. Radio. We' ll see you next Wednesday here
57:57
on Radio Trentrup Topic and our YouTube channel. Audiovisual GPS hep. Thanks for
58:04
joining us. Don' t leave because our dear bad night is coming and
58:13
remember, as we say, always watch Argentine cinema and today more than ever
58:20
until next week. Thanks seen this was audio- visual radio. We expect
58:49
you next Wednesday at 19 o' clock by radio thirty- three chapters.