Latest / GPS Audiovisual / GPS Audiovisual T05 P17 - ENTREVISTAS ANNAMARIA MUCHNIK, SANTIAGO LOZA, RAUL PERRONE, IAIR SAID

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GPS Audiovisual T05 P17 - ENTREVISTAS ANNAMARIA MUCHNIK, SANTIAGO LOZA, RAUL PERRONE, IAIR SAID · GPS Audiovisual

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GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, 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, strive for
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a culture that gives it a place in a society that has the support of
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the State for the development, not only of the culture, but also of
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the country. Welcome to GPS Audiovisual Radio with the journalistic production of Norberto chap
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the driving of who speaks Julia monte Soro and in the controls Gonzalo Sorais.
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Cinema continues to demonstrate better than other arts, that aesthetic reflection is closely linked
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to political reflection. She prophetically said Ana Maria Mushnick in the presentation text of
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the 30th edition of Women and Film, the festival to be held from May
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2 to 5. Today we begin this program with her, with Ana Maria
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Moshnick here in our studios, in GPS audiovisual radio. Well, it'
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s a great pleasure, as always to receive you, Ana Maria, to
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have you and good to be accompanying this festival. Well resources to your phrase
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in principle, because it resonated with us. Not how important it is at
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this moment to meet together, on the one hand, the encounters and to
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what extent women and cinema is a festival that generates political reflection. Using this
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reflection that you did in the beginning, in the forgiveness catalogue. Okay.
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First I' m gonna say good night to everyone, everyone. Thank you
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for receiving me, because the truth that coming here to your program and that
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you are close to us is truly a pleasure and for me it is we
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know each other from so many years ago and know our respective trajectories. Let
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' s go make some history. Women and cinema were invented, created,
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founded thirty- six years ago in April 1980 by a group of very important
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women of culture who somehow made meat, made skin. That women didn'
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t have, they didn' t have spaces, places to screen their films.
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And not only that, but few were encouraged, few dared few dared
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few dared few had the necessary and sufficient support to lengthen to sign. From
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there came a little ideology to use a word that is not the right word,
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but the goals with which the woman and the cinema were born. Because
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I say this because somehow we have never tried to leave or to get away
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from those premises and they are the ones that always guide us and I and
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in my capacity as director, president of the associations like I have it very
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much in front of me and I try not to get off the road.
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That is why we say that somehow it has a political connotation in terms of
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not talking about partisanship, I am talking about politics. When we talk about
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politics, we are talking about the possibility of giving a place to women,
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the possibility of supporting the creative task of women, the opening of doors to
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film schools so that their women, students, young women, can also come
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in to study and support them. As for the exhibition and the possibility of
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taking his films abroad, to international festivals. This is all political. All
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this has to do with decisions that are being made along the way and that,
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in some way, need support. It is very difficult to do alone
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and when I say alone a festival, because basically we need an infrastructure,
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places to project the films, where to promote them prizes to give to the
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filmmakers. All of this we' ve been putting together a support, an
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infrastructure or a house, a nest. Let' s say where sheltering all
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the women who film and who often say we sign is a great job to
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sign are years. We set aside our usual tasks, because we agree that
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women find it harder to film than men, because they are putting aside everything
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that is their home, their home, their children, their family. So
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they' re, somehow seeing how all that has turned out. You know
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well, the time and energy that leads to being a movie, all of
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that that they have suddenly invested and now here you see it where we show
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it where we go with this. Yes, and this is a little bit
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the question that has been asked many times by the directors and the answer that
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we, in some way try to give that they are giving trans edition edition.
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Now you just mentioned all the things, the elements that a festival needs,
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such as women and cinema, well, halls, awards, support,
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diffusion and fusion catalogs of programs of everything that, at this moment the technical
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part, that is, that comes out by networks that were viralized everything that
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you. You mean because it is important that it be disseminated now in relation
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to all that, how it impacted on the health of women and the cinema
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of the festival, women and cinema, all this series of drastic and abrupt
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measures being taken from the National Institute of Film and Audiovisual Arts and with culture
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in general, several. Firstly, we, economically this year, have had
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no support from the Inca. So we have had on the nation' s
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side, the CSK, the place where to pass films only evil goes,
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which has nothing to do with the state, which is particular and is a
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little bit our house, because there you see all the short films and somehow
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there' s a question that we ask ourselves and it' s the next
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one. If hoices yesterday closed the door of the National Film Institute for three
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months, you can' t sign which films the women are going to show
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next year at the festival two thousand twenty- five. What material we will
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have next year as material of the filmmakers. And that' s a question
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we stopped asking ourselves. I believe that I am a great advocate for the
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State to support the creative task, to support culture, to support cinema,
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as is done in other highly developed countries. That' s why cinema grows.
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It spreads. There are international festivals. Our Mar del Plata Festival is
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at risk today because we don' t know if it' s going to
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happen or not, and it' s the only festival in the whole continent,
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in the whole class A region. That' s a lot to defend
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because it' s very important and because the Plati Sea Festival is known all
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over the world, because we know that we have many good directors who go
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to festivals and they do well to bring prizes. Many times it spreads.
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Moreover, when you started to talk about this from all the associations or call
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it whatever you want, they began to arrive accession letters, which is very
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exciting, accession letters from presidents of international festivals. We ourselves have received many
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letters of support from festivals and women' s associations in other parts of Europe,
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elsewhere, in Latin America. This is talking about the need to keep
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doing what we do, the need to show that we continue to work.
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And this is suddenly looking like a sdrogan, but somehow, what I'
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m saying is that we' re going to move on, whatever this festival
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is, when we saw that we didn' t have any financial support or
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that they were very scarce, because our sponsors did, yes, they told
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us. We' re going, we' re going, we' re
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going to accompany them around with a little less, but we' re going
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to be rewarding the girls. That for us, on the one hand,
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an enormous tranquility, as if to know that the winning films are going to
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take a prize and, on the other hand, to see the solidarity of
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certain people who continue to believe in culture, still believe in cinema, betting
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on cinema and women and cinema, and on women and heaven. The festival
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will have this edition as a guest country, to Spain, yes, and
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Lis Lovato as guest director. Two indirectors will go Daniela fe Herman, also
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Spanish from Spain, and Lis Lovato. Let' s go to the Cultural
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Center of Spain in Buenos Aires. He supported us, brought us four Spanish
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films. I trust the tickets. Somehow we have to thank them. Isabel
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Cochet' s film, Daniela' s film, Lis Lobato' s film
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and one more film that is very wonderful and that I recommend to you,
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which is the one that won San Sebastián last year, Joyanne' s film,
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which is really to be seen, you have to see a very strong
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film, very hard and that we managed to bring it just thanks to the
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cultural center and that we think it would be good for people to see it.
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That' s four Spanish. Uh- huh Then there' s a
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lot of Argentine movies. Yeah, over forty. Not here are many in
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this year' s programming, which is almost a miracle. One could say
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no because a priori one might think well, there is not so much production
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led by women. However, you with what panoramas you found this year.
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We didn' t meet anymore, there were more seekers. Look, I
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' m telling you on the side of the shorts, we got a hundred
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and eighty- five shorts. That' s a lot. It' s
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a lot, they' re short and one can say good. They'
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re short. No. Not the one I cut. Respect the short,
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because we also have to work, we also have to put together in funds,
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we also have to put on the table everything that means a film production,
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even if it is short. There are one hundred and eighty- five
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of whom we made a preselection of twenty- seven. That' s where
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the prize winners will come out of the hands of a jury. The feature
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films came in many more than forty. We have chosen based on a little
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the possibilities, because many times you can not pass a film because it is
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already engaged in another festival or because it has already taken place in another festival,
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I mean, there are suddenly conditioning factors that are not exactly the quality
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of the film. And, on the other hand, that choice that we
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have to make also goes through a section that we have, which is called
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poor whip Working, which has to do with the support that the different sponsors
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give to the production and the completion of the production of certain films. When
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the directors have a film that still lacks a baked, let' s say
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to use a home term in the last batch they are presented in the WHIP.
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Forty- three films were presented at the WIP this year, meaning they
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were signed last year, forty- three directors filmed. They couldn' t
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finish their films, they presented them, they chose. I think eight and
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now you' re going to put together the whole sponsor group that we have
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and you' re going to see how you can help them by giving them
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that because in general the sponsors all have companies. Of course it is something
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specific, a specific aspect of production. Yes, it must be said that
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among the films that we are going to give, five films are products of
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last year' s WIP. Well, I mean, five of the very
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good- natured chicks are very good- natured. It tells me yes the
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truth, that I tell it and I get excited because I say Mira,
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everything we did has seen against the wind and Mareana, Maria, I know
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you, we know you well. Well, we started this talk with a
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sentence of yours and we want to conclude it. In the same way it
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says the presentation text. There are inescapable questions when scheduling a film festival such
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as the exercise of wondering who the viewer is and what he wants to see.
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Then I ask you what you answer about it. I say to myself
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that the spectator is not only the spectator, it is the spectators and the
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spectators. We' re going to a plural audience more and more and that
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' s what we, in some way, want women' s movies to
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be seen by women, that men also watch women' s movies, because
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there they see a lot of things that they don' t imagine, that
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they don' t think and that helps them grow and that helps them see
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another vision, something else movies. And this is seen a lot in the
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shorts. Julia Vos you see that the short ones and if you look carefully,
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the filmmakers are putting an important part of their life, of what happens
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to them, of their own reflection on their own reality. And this is
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important to spread. That is, that the viewers, the spectators, all
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who watch these films and who are able to see beyond what the images give
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you and to reflect on them. This is a bit of a goal And
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this is also what every time it ends I sometimes tell the girls of mine
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that I work with, every time I finish the festival, I don'
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t know there' s this feeling of thinking about it and even saying mission
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accomplished. Yes, of course I do. Of course yes, and well,
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we invite then very very emphatically, if possible, the expression, to
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witness, to participate in this new edition of the woman and the cinema,
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where there will be good tables there are also many activities. Let' s
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say that it is in the Malva, in the CSK and in the San
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Martín Cultural Center the perfect free and free entrance. So, thank you,
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Ana Maria, Mosni as always a pleasure to have you listen to and good
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to see the momentum you put on every issue of women in cinema. Thank
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you very much and let us remember then that this edition of the woman and
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the cinema is going to take place from the two to the five of May
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with free entrance in the CSK, in the Cultural San Martín and in the
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Malva are all invited. Thank you, Ana Maria, thank you. We
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really continue Thank you at Gp SE Audiovisual Radio Santiagolosa has a new book.
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The novel is a modest spirit in which mother and daughter rediscover themselves in solitude
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and freedom that they did not know wanted press information says that a modest spirit
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simulates a sequence plane. In a short time but mobilizing the relationship between two
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women. We are with Santiago Lossa, author of this novel. Thank you
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for joining us here on GPS audio- visual Radio Santiago welcome, good night
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to Julia. Thank you very much for the invitation. Well, we keep
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this phrase that says that the novel simulates a sequence plane. You wrote thinking
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about images, imagining that text translated into cinema. In principle, when I
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write a novel, I don' t think, I mean, I think
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like or work. There' s something about the language that you work on
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that I don' t think about moving it into an audiovisual language or I
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don' t think about it in terms of making a film, or I
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think there' s something about working, like language in a more poetic way
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or certain drifts that have the novel that doesn' t have that practicality that
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has the script writing then it appears as one, like a more crafty,
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more delicate work with the word, something that still happens to me that maybe
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in the modest spirit, I think that in writing there was something that is
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fed by cinema and also by the theater, in certain ways, of certain
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perceptions that I' ve had are in the novel, like the novel or
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for now that' s being read, there are the readings that are made,
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say that is that it' s very sensory, very visual and I
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think that something has to do with the cinema, with the encounter and with
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some fascination that it has in cinema. Sure now, outside the press gazetilla
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and good of these comments, what themes you wanted to explore in your new
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novel. Yes, the novel is perhaps the themes of what it touches,
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that is, it tells the journey between a mother and a daughter who move
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to the city and begin to live in a building with apartments away and they
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are doing as a sort of exploration of the area and also of their own
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identities. And perhaps it plays as certain zones of solitudes and also as the
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contact that there is with between those solitudes and with the faith and with the
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concert erutism. Also the novel, as I was glad that in the middle
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of all that journey it was also as at times, as an erotic novel
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species of discovery of the characters. Then there is some of that, as
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if those characters, in a way also a little unsuspected, begin to live
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a relationship with sensuality, some of that happens in the novel. So a
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little bit of your topic, just like maybe they are themes that haunt me
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or that I have also played in theater, which has to do with loneliness,
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with faith and, in this case, with that an unexpected half encounter,
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with bliss and sensuality. Well, just in this bond that I explored
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between these two women, mother and daughter, who were your referents or your
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sources of inspiration to introduce you into this female universe. It seems to me
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that from these characters who narrate in the novel, I am sorry, that
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I feel that I know them, that I have seen them, I say
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that they are neighbors or people who clearly are through these years I have very
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identified them. But it seems to me there' s also something where I
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put myself in that body. I mean, there' s like a gesture
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a little bit I don' t know another beast. I really like writing
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female characters. I feel very feminine and enjoy that. So, on the
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one hand, it seems to me that these women are identifiable, i e,
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I think I know them, but I also feel that there is a
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lot of one' s own experience at stake in that bond and then that
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of mother and daughter or parent children, there' s some of that links
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that are given that appear given and how they can be reformulated. Or that
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I always get around, it still bothers me to understand them. And there
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' s something about the novel that looks like it' s a bond,
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that' s a little bit like off or that' s making sceneries that
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he said almost like they support each other. And in the novel it begins
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as well as a rediscovery of the other and also as a certain independence.
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It also has as something of a small story of travel to the novel,
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a journey through feelings. In any case, yes, and the feelings of
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the senses. There is also something about the main character, who is Laura,
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who is the daughter who also as she is having as an erotic drift
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and goes away as she also encounters her own, with her own sensations.
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Also, as there is something quite queir, quite like encountering other bodies,
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with other presences, with other ones, something is also spread well between the
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faith in enthusiasm and some of its eroticism, that discovery of its own autism.
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His last film work was friends on a field road rolling full pandemic.
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No, yes, what is your current relationship with cinema? My current relationship
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is a little complicated. I say because I' m with some projects that
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are kind of costing them to be done, that they' re a little
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late and trying to do some things a little bit more experimental, or like
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trying to happen that' s a relationship that I can say I have a
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slightly delicate relationship with cinema at a time that' s delicate. Then I
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feel like I shouldn' t be very original. It seems to me like
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other directors or directors who in some way in recent years have become more difficult
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and I think that now it becomes even more complicated. The situation is appalling.
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So, well, I mean I think there' s the desire to
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film but not the kind of movie I do. Or it' s a
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kind of movie, okay. I haven' t worked for platforms, or
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I haven' t worked. He' s a more crafty guy. Well,
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the funds there are for that don' t exist right now, there
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' s no way to move it forward. Or I know or even when
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you' re a producer. Also of course, as producers I have accompanied
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Eduardo Crespo' s work more recently. He collaborated, but I' m
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not a producer who has capital to fund friend cinema on a country road.
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It wasn' t done with Link' s support, but other films of
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mine were supported by India, which have been crucial to INCA support and support
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from other international funds. But the Drink has been crucial, and at this
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moment there is no talk of the closure of promotion. I mean, there
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isn' t. Then I say I can' t think of what the
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possibility of filming would be now then I say well, yes, I feel
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like it, I have projects, but it' s very complicated. As
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I am part of a collective situation. And as for the theater, because
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well you are also written Burgo and good you have presented plays. In that
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sense, there is some project. This is, with projects. There'
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s gonna be a version of Lisandro Rodriguez. It' s going to be
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an unconscious diary version, which is a book that came out a couple of
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years ago, which is a book that had as something of non- fiction.
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It' s going to be a version in your room and then it
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' s worth Lois and Juan cer Rauch are going to direct Mariano Saborido in
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a text, in a monologue that we' re white wind. That'
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s going to end in July in Santos forty to forty. It' s
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gonna be released in June Sorry. Those are the two, as theater proposals,
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that are going to come back and then there are other plays that come
27:22
back every once in a while. Either the pig woman comes back or nothing.
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Love makes me jealous, it' s usually bulver, and every once
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in a while those works come back. So your relationship with the theater is
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a little more fluid. At this point let' s say right now yes,
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because it has to do with something about the theater, with some desire,
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to be with others and to share certain projects. So, well,
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yeah, I' m with some projects that and like wanting to but,
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well, maybe that' s got other costs than film. There are other
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times and others, but they are also long processes of these works that I
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counted or the white wind that is going to be done. It' s
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something I wrote three years ago and this tide doesn' t taste. Well,
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there' s a production time too, but yeah, maybe I see
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it. But in cinema something I' m going to invent, I'
28:23
m going to say something I' m going to invent, or something I
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always get, or there are people who end up collaborating, they end up
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making it easier for me to do some kind of thing to keep linking me
28:38
to the cinema. The cinema also has something quite physical that I find exhausting
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in recent years, also in the last attempt that I made, it also
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seems to me that it has something of a lot of physical demand, which
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I also found exhausting. So, well to write these criture projects that I
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have of the novels or Out another book by entropy, which is small novel
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from the East that also comes out Out, which make simultaneous at the time,
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which are travel chronicles. They are like writing projects that good demand less
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physical effort and more other kind of effort that is possible. Luckily, you
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were able to dedicate yourselves well, luckily, you continue to create Santiago the
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lucky Cinema, curiosity of curiosities mortal impet Well, thank you very much for
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joining us. We remember then that the new novel by Santiagolosa, a modest
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spirit, is already in the bookstore. Bookshops, well, thank you so
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much for joining us. Thank you, Julián, thank you very much.
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We' d better keep an eye on everything that happens. Your return to
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the movies, too. Thank you very much. Thank you very much.
29:56
A kiss, thank you, a hug. They were good times. We
30:10
felt beautiful, great, they were carles, but the passage of time was
30:22
inevitable. They say you pushed raulito down the balcony. You son of a
30:30
bitch. Cut it out because I' m taking it to everyone. It
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' s too late for us. I don' t know where the friggin
30:45
' oscaro bargod is like I' ve forgotten everything back because I was toasting
30:52
was how to find something. He says something transformed me with a date.
31:00
I can' t paint anymore. I have to ask you a question.
31:06
What do you want to know if she' s your daughter? I know
31:11
all my life. Morgodo is dead. You did well the fuck out of
31:15
the other night. Paulito fell alone and the troll you left me in the
31:18
trunk of the Urgian car was my friend. There' s Marta. This
31:23
kids with tips and how they fit the pieces, not fabulous. One is
31:30
missing. The last one I will be able to believe n Vladimir, a
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film by Martin Rionic with Daniel Araoz, Carlos Belloso, Marcelo Melingo and cast
31:52
Vladimir premiered in Salas 11 April. Yesterday, Raul Perrones celebrated his new title
32:06
in the Baffisi in the evening. Hours earlier he presented the book Perron,
32:15
The Corsair of Hernan Sas and which starts from an essential premise in Perrone'
32:21
s work. Movies are on the street. We' re with Raul Perrone.
32:27
Thank you so much for joining us. Raúl has an enormous pleasure to
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receive you here on GPS audio- visual radio. How are you, hello,
32:35
Julia, how are you doing? Thank you very much. Okay.
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You say you don' t do any more synopsis of your movies, because
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you prefer that people going to the movies encounter something that doesn' t know
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what it' s all about. Not last night because of the comments you
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received. What a return they made you, what I have, what they
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found in the buffalo Look. That' s actually a bit of a long
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topic. It' s not doing Sinknoxic I was gonna be able to do
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you, too. Lo. I talked a lot because there were programmers and
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because, for a lot of things, the issue of not doing synopsis is
33:24
something extremely risky and I took it almost four years ago that I do it
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and I do not do triilers either, that is, that absolutely nobody could
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come to see with that premise a film of mine that, thank God,
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happens the opposite. I am lucky or had this case also in this last
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assis and in a few hours to vote on all three functions. I am
33:51
very surprised, very happy of life that after so many years there will be
33:54
so much interest. Then there' s what you write in the catalog and
34:00
FISI and that and that each because the triters I consider to be the Synopsis,
34:06
are liars and I can put a lot of things that are not in
34:13
the movie afterwards. And that' s what usually happens and it also happened
34:17
that on many sides it seems to me that the hypnopsis are also recycled by
34:22
critics, that the ticos should look at the film, that it is gero
34:25
that they see it, but also that they start to write, not to
34:30
repeat an synopsis, but with that criterion I grab fragments of movies and we
34:34
give a film in a job directly. Then I get the impression that good
34:38
people nothing. To talk about what I was told about Corsario would be a
34:44
little modest for me, because the truth is I have received very very,
34:51
very much the truth that it was so much from the presentation of the book
34:57
that it was exhausting so many people. The truth is that, despite the
34:58
march and everything was tremendously people- like and from the film not to speak
35:04
the room full and the truth that it was a really very very beautiful function,
35:14
very powerful, with applause, with screams and then, well, the
35:19
return. The little thing is that you listen because I am already finished,
35:22
that I don' t know or who I am neither as my name is,
35:27
nor that I make someone more of a place my personal phobias, that
35:31
is a world of people that grabs you than the pictures that you look at,
35:35
the truth that was better is Julian, the truth that people that impacted
35:43
another again, a work that I have done with a Camera three hundred sixtys,
35:49
a shocking of the images, a work the sound very exhausted, very,
35:57
very, very, very, very sharp, but a sound work that
36:04
is almost so that people also common in quotes, realize Chelnea, the sound
36:07
that sent me and that God has to be one thing. You saw that
36:10
there is a great sound work that gives me a long time to review itself
36:15
at the same level as the images, but also very much moved. It
36:21
' s a movie, it' s another movie. And it' s
36:22
not one more movie, let' s say this is a life that has
36:27
nothing to do with or be eternal, that two years ago I introduced it
36:30
being also a job of street requests, which is that it happens trans cut.
36:37
It was a flange that says in the middle of the pandemic, which
36:40
I did in the 21st, where it was very difficult to work. That
36:44
' s why I almost practically did everything on the street with wide angles,
36:47
with tremendous traffics across the street, which is very difficult until I recognize the
36:52
same streets I film almost always, but also very very, very excited,
36:58
very touching. Let' s not say then. The truth is that very
37:07
but very happy. I don' t know if he answers your whole question.
37:13
Sometimes I don' t know how to tell my movies. I can
37:17
actually talk about a lot of things about what I think about cinema is like
37:21
the way I did it, but not specifically tell you what' s going
37:25
on in the movie. Sure, well, I' d add, if
37:30
I may, that they' re actually movies to enjoy, to get in.
37:37
No. Your invitation is to meddle in those universes and go around sailing,
37:43
traveling Now someone could say that combo fifteen addresses the interpersonal relationships of youth
37:50
in an urban environment, but it is stated In any case it is incomplete,
37:58
it seems to me, because much of much of your work could be
38:02
said the same in this case. What' s the idea he gave you,
38:10
what came up to you to address this feature film. Well, that
38:16
' s where I can say a correction, Julia, because everyone' s
38:22
wrong about the titles you put in. It' s not 15 combos in
38:24
convoys. Ah the one and the king sex means one and five. Nothing
38:31
good in common that two or three combos have already happened to them that I
38:37
don' t think or because I don' t know where the fifteen combo
38:39
comes from. It' s like I' m a 15th combo. No,
38:43
no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no,
38:45
no, no, no, no, no, no, no, no,
38:45
no, no, no, no. So, thank you so much
38:47
for the class. Not on the contrary, because afterwards I also remember that
38:51
there was a consecrated semuraiks walk that Samurai said. That' s right,
38:58
Samurai Well, it' s not that it' s another movie about piebes,
39:02
but that' s that I always look like another betadystidae. They'
39:05
re not very low- class kids anymore, even though they' re kids,
39:12
they' re a little older than twenty- four, twenty- five
39:16
years old, but nothing, nothing' s a threesome. It' s
39:19
a chick who walks in rollers and sells fanzines in the square, but in
39:25
turn they' re also a kind of pibles of the night like a species
39:30
and then two feet more taxis like a tasiboy say they are, but always
39:36
what I carry forward is the value of friendship and the value of the kids
39:40
who try to survive in this society that we have that is getting harder and
39:49
harder. Not one who is dressed in cagoboys, which are things that refer
39:53
to things that I have seen and tributes that I do and many movies and
40:00
there are three piribes who are turning around and there is also a lot of
40:04
ambiguity, but you don' t know if the widow who sells easy,
40:07
is in love with one of the feet, but in turn, she also
40:10
later has an affair with another girl and a little film and it transpires until,
40:15
suddenly that we are going to spoil, something happens that is not even
40:22
in the mind of these kids, but a misfortune and good happens, and
40:28
from there, well, you have to see a little how it happens.
40:32
What I tried to work for is also a little bit that was one of
40:37
the hardest things for me in this movie is to work the blame when someone
40:43
commits something and is guilty because it was never the purpose that I could do
40:49
it and work the blame from the images and if from the sound it really
40:54
is what has taken me. It' s just that half the months ago
40:58
I' ve been working on the sound and image of this movie, a
41:02
very difficult thing to transmit. I hope that' s what happened. Apparently
41:07
it happened, because that' s what caused a lot of break and a
41:13
lot of excitement in the room. It was really shocking to see him in
41:16
the living room. But that' s pretty much what I can tell you.
41:22
But it' s still another whole different story of kids. Everyone who
41:27
saw each other. He' s not even an asshole, is he?
41:29
Not four twenty, it' s not. I didn' t even say
41:31
scratch. I' m always finding my way around, because there' s
41:37
a lot of stories to write about kids, because they' re a lot
41:42
of stories that happen, they don' t survive, but about people,
41:45
especially people. And it' s there all the time, it' s
41:52
always the sociological thing and the things that we have to live and how we
41:58
' re living to ourselves as it is. And almost the documentary part I
42:01
would say about cinema raúl dognes, yes, yes, no, I didn
42:07
' t tell you that you saw it on the nail, because yesterday we
42:14
talked a little bit about that combo and it already goes like some festivals and
42:23
someone who already programmed it out was surprised who also said that they were eternal,
42:30
that good that I had been in a festival like a documentary and we
42:34
talked about that that it seemed to me and I say look at this already
42:37
it seems to me that the films have to stop catarogating them, not to
42:43
say long, short, ugly, documentary fiction. Now the documentary is a
42:45
fiction and fiction is a documentary, let' s say me, what I
42:51
take is a lot of gambling. I can see you there because there'
42:54
s a scene, there' s a scene that the boys go down the
42:58
street and discount. I meet a guy who' s always asking in bars
43:01
and so on and suddenly I start singing with the kids. They sing a
43:05
song from ai CDC and that' s clear and that has something documentary,
43:13
but also the way I make them work on the actors of my films from
43:17
a documentary record. Yeah,' cause they talk in a way they talk,
43:22
like people on the street. This is exactly what I' m most
43:25
interested in believing and I don' t believe it, nobody' s going
43:30
to believe it. I mean, you have to start with me and I
43:32
like that record. I like the record of people talking like clear people.
43:37
Well, that' s magic, then, the key to Raúl Perrone'
43:46
s film, director, so he' s just introduced his new feature film
43:54
to the Baffisi And well, thank you once again for your work and your
44:01
participation here on GPS audiovisual Radio. Raul sent you a big hug. Thank
44:05
you so much. Well, you too Julio, as you always know,
44:07
that I' m there at the bottom of the canyon, because as I
44:10
tell you at the end of every talk, we always have to thank you
44:16
for the great work you do for all of us and for the cinema in
44:22
general and the woman and you' re all a great worker. Thank you
44:22
very much. I' ll come with you. I also send you a
44:25
huge hug of dog raul. We' re still on radio audio- visual
44:29
GPS. Thank you have faith in me. You have to believe you desperate.
45:09
Give yourselves up, take care of medicine, science. Those are superstitions,
45:34
let me be destroyed, make me immortal. El Santo, a film
45:49
by Agustín Carbonere, awarded the best film in the international competition of BAFFICI.
45:57
The Holy premiere only in Santos on Sundays more people die. Jair Sait'
46:10
s dramatic comedy will have its world premiere at the Kans Film Festival It will
46:17
be in competition in the section, so it is created by the Association for
46:23
the dissemination of independent cinema. We then received Yair Said thanks for joining us
46:31
here on GPS and audio- visual radio. Congratulations and thank you very much.
46:37
How all are well, well, well, still good. Let'
46:45
s get to it then. Preliminary information says that on Sundays more people die
46:52
from the loss of family and ties. From an insightful and ingenious perspective,
47:00
how you define it or how you can expand that concept. And Air Bueno.
47:07
For me, it' s a film that portrays a little bit the
47:13
moment of a family' s grief. How grief makes you have to go
47:22
on with the rest of your life, but the flight is always contaminating a
47:24
little bit everything and especially me, what I was most interested in telling was
47:30
a little bit the price of that mourning, the price of the death of
47:34
the relatives, like there is a price that is half metaphorical. Well,
47:37
the pain you scratch, there' s another one that' s more literal,
47:43
which is what it costs to keep a dead man, what it costs
47:47
to pay a grave, which costs the debts he can leave. Like there
47:51
' s something I haven' t seen so much of in the middle class.
47:54
The duel part a collateral moment. Let' s say collateral to the
48:07
duel, yes, the economic, specifically the times I had the first deaths
48:14
of my family or my father. Eventually, I didn' t know what
48:16
it was, like everyone tells you about the pain you' re gonna feel,
48:20
but nobody tells you that it' s gonna cost you. You have
48:22
to have a financial balance to sustain, to sustain that duel. Yeah,
48:27
you have to go to work the other day. I mean, things happen
48:30
to you. Yes and a little bit of fact what the film talks about
48:36
and what was the initial idea of Sundays more people die and how this idea
48:43
was molded or modified as you advanced in making the film. Well, actually
48:53
the script hasn' t changed a word since I wrote it in two thousand
48:58
fifteen and I signed it in two thousand twenty- three and my dad died
49:04
in two thousand eighteen. I mean, it was a career movie about my
49:07
father' s death, but I wrote it before my dad died flashy.
49:13
Well, I' m a little stubborn. I don' t get to
49:15
change things too much, too. Stem I get to adapt, obviously to
49:21
the difficulties a filming, a small movie can have. Those things I tried
49:27
I didn' t have to adapt too much because I have very good friends
49:31
and I had very good contacts that got me closer and lending the things that
49:37
we haven' t even managed to film on a plane, so it was
49:46
a whole checked, everything checked out you saw with everything you wanted. Then
49:47
I don' t have after, oh well, it' s not the
49:51
same. Film with fifteen hours a day to sign with eleven that start to
49:57
pass and yes, you have to adapt to that, but the script did
50:00
not have to change a coma in those years. Now you wrote it thinking
50:06
you were going to star in it as well as lead it. Yes,
50:12
I generally became director to act. In my business I was an actor and
50:16
I don' t have an actor' s job. I started writing things
50:20
to address myself, so I could be the protagonist. Aha whenever I write
50:24
something and write it thinking about me as a Syrian protagonist sounds, but the
50:30
reality is that I know my abilities as well and my limits. So I
50:36
write according to what I know I can become or give aha very interesting what
50:40
you' re telling, so the director' s path, then it'
50:45
s a one- way trip. Yeah, as long as I don'
50:51
t have, as long as they don' t call me and call me
50:54
to act, yeah, I' ll keep acting on my stuff a little
50:57
bit. There' s also a puncture that I understood over time, especially
51:00
for this movie, which is a need to tell something that you can'
51:05
t tell otherwise. For me, the film exorcises a lot of my fears,
51:09
my anxieties that I couldn' t put into words in so many years.
51:16
You saw as me once a producer friend, Juan Vera, yes that
51:22
producer of the film He also asked me if I considered myself an artist.
51:27
I said yes, yes, and I understood in that answer that I do
51:32
consider myself, but because I do not know how to express myself in any
51:37
other way, that it is not through the art of act, a mail
51:40
written like the ass. If I understand how I do, it also comes
51:46
out through a more artistic channel. So yes And there is yes, of
51:52
course and there is also a tone that you handled very well that you did
52:01
since the performance before in other films, in other works that we have seen
52:07
you and that, well, in your movies does not appear. For example,
52:09
Flora is a song to life, which is a documentary. However,
52:13
there is a quota of humor, of irony. That' s also a
52:19
way that you found yourself expressing these feelings, this way of being before life.
52:27
It' s either I found it or it' s the one I
52:30
have. I didn' t go out to starla. At one point I
52:32
realized that it was easier for me to live through the moments of sadness with
52:38
a little more humor and I don' t know any other way, because
52:45
before it was a little more dramatic. Well, a little typical. I
52:46
' m not Jewish. There are things that are very small, that cause
52:52
me a stress and a barbaric drama and there are nearby deaths that I can
52:58
take with great relief, but it is like a little the mechanism that I
53:05
found, although I have to go through things less painfully. Now this step
53:12
your opera prima flora. It was a documentary and in this case it'
53:19
s a fictional story. How was this passage from documentary to fiction? Well,
53:29
yeah, first of all, yeah, it' s a fiction based
53:31
on my personal feelings. Obviously it is where the film is very sincere and
53:37
very genuine, because it speaks of my fears. I didn' t have
53:43
to make much of it where I felt the difference most, especially in a
53:46
technical part, is that Flora' s documentary, I built the film just
53:53
as clearly and clearly then here, when I got to the editing, it
53:57
was all signed and the only thing that could make the editing was solved the
54:00
problems, it wasn' t to put together a new film. It happens
54:04
you know it is, but it' s just that I thought it was
54:07
going to go on stage and that the movie was going to be just like
54:09
what I filmed. Yeah, and Montajista Flores Front told me not to be
54:15
small like this cacereta and I don' t know what. This isn'
54:19
t working. And I didn' t think of the idea that any of
54:22
them would work, because I had it written 15 years ago and it always
54:28
worked and I saw it and it said clearly this doesn' t work.
54:30
There were things that didn' t work for me. Then there I discovered
54:32
as a new one, a new band- aid, not as a way
54:39
to make another movie, because one of the ones I had written was the
54:43
one I filmed and another was the one I made. So it was different.
54:47
It was very different. And it' s also that Flora filmed it
54:52
seven years and I filmed it three weeks to three weeks. Not that I
54:58
didn' t have time. No, actually, I stopped editing now,
55:00
I finished the color three weeks ago, too, and a week ago I
55:05
found out we were in Caan. Then I don' t have, I
55:08
don' t have pressure. In one afternoon, seven years, you get
55:10
it all out already in a year, the middle end the premiere. Yeah,
55:14
so my therapist Chocha looks at the truth and I don' t understand
55:20
where I' m standing. But besides, it' s good. I
55:22
see there' s a road to festivals, not because you. You were
55:27
in San Sebastián the previous year, with what at that time was a working
55:31
progress and now well, Kans and then, well, I' ll see.
55:42
But yeah, yeah, it' s like it' s a problem
55:45
being used to that too, because it happened to me with Floras. I
55:47
' ve got some rooms made, and the shorts went very well. He
55:52
won Murafís was also a Caan in the two thousand fifteen and when Flora arrived
55:58
I said Flora goes to tour the world and he did not stay in a
56:02
festival like not in one Acá, in Argentina it was spectacular, he was
56:06
in the mauve to an anime, but then it is very risky and the
56:12
truck of the festivals is very random. You think your movie is spectacular because
56:15
it' s at a festival, pass a fallame. And if you think
56:17
it' s bullshit because you' re not a fallame, then I try
56:22
to take it moderately. I know it' s a window that' s
56:27
gonna do you good in the movie internationally. To me what I would like
56:32
is that here well, I and all the directors of Argentines want to be
56:39
able to receive this here you saw. Yeah, yeah, yeah, yeah,
56:43
right, so it' s so bittersweet to have a movie made right
56:49
now as it is. I' m happy to achieve it and I say
56:52
if it' s the last movie and then what' s going to happen
56:55
to that delicate moment. Let us also hope that it is not the last
57:00
and good, we wish you the best then at the Kansa Festival now no
57:07
more in May and go Said. Thank you so much for this contact and
57:13
congratulations on this one for your work. You are always very attentive to all
57:15
those who leave me well, thank you very much and with Yairsiide then we
57:23
are saying goodbye to this new broadcast of audiovisual GPS radio. Don' t
57:29
go,' cause now it' s a bad night. Thank you for
57:32
being there, for accompanying us and, as we say, as long as
57:38
you never see Argentine cinema until next week. Thank you, this was look
57:59
at you. Be audio- visual radio. We expect you next Wednesday at
58:09
19 o' clock by radio thirty- three ca