Latest / GPS Audiovisual / GPS Audiovisual T05 P13 - AGUSÍN CARBONERE, ZOE HOCHBAUM, LUCÍA SELES, ALMUDENA GONZÁLEZ

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GPS Audiovisual T05 P13 - AGUSÍN CARBONERE, ZOE HOCHBAUM, LUCÍA SELES, ALMUDENA GONZÁLEZ · GPS Audiovisual

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GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is the Argentine cinema
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in the look 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 audiovisual GPS, continue to
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be committed to a culture as a pillar of the development of a society,
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a culture that is plural, accessible, free and supported by the State for
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its development. Welcome to GPS Audiovisual Radio with the journalistic production of Norberto chap
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and the driving of those who speak to them, Julia Montesoro. Agustín Carbonere
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is the director, producer and screenwriter of the Santo, a film that tells
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the story of a healer who attends in the background of a gallery. It
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is divided into five episodes that somehow count recreate this journey of glory and sunset
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through which the protagonist of El Santo travels. The film stars Uruguayan Roberto Suárez
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and the cast also features Elisa Carricajo, Claudio Dapasano, who died in January
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of last year, Benjamin Mateo and José Fowell. El Santo premieres tomorrow at
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the Cacodelfia cinemate and here we are in the studios of audiovisual GPS, radio
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on radio topic train with Agustín Carbonere Hola. How are you Augustine in a
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taste hello here, a very great taste and thank you so much for inviting
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me. Well, the point of departure of the Saint is desire. Meanwhile,
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it is a film that emerged in a completely independent way and here we
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are now arriving at the premiere. What led you to embark on a proposal
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like this look at desire. I see you say very good words, because
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you just said it and I loved it and I' m going to start
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using it to describe the trip a little bit and wishes an excellent word,
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because that' s the main motivation to make the movie. It was a
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very desired film in the sense that I needed to make it beyond history.
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You needed somehow, not a consecration, but I definitely needed to express myself
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in a medium, like a feature film, and it was an effort.
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Obviously, it was a sacrifice, also speaking half in the tone of the
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film, but yes the desire. That was the biggest engine and the need
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also to make it and find a story in a way too and also tell
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the story from one side and also produce it in a way. That was
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also important. That too was a very big wish, because I follow the
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wish was also filming in a way. I' m used to filming.
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I am the principal director of commercials where the industry is giant and I really
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wanted to do something more of an author as long as not only the style,
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but the way to produce. I wanted something more crafty. So that
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was also very much desired And the truth that I am very happy with what
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we came to, with what was done now, of all the possible readings
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offered by the Holy One. What did you try to tell? What aspect
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you sought to highlight I say is curanderism. It' s good, this
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development of a path, the ascent and the fall somehow looks at what I
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wanted to tell the most in reality, the faith thing is how this idea
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of esulterism is something innate in me. It' s like he' s
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in me every day and it wasn' t so much the subject of the
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movie. What' s more, I tell you that' s the location
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of the film, because it' s like the situation I think I stay
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more with and I' m going to paraphrase you again is with the idea
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of ascent and sunset and ascent I' m married, and also the idea
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of how one becomes a product no, because it' s a little what
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happens to the protagonist. And this thing that happens to us every day,
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that we are self- promoting, well right now is and how one is
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to be in marte rians elisa and becomes a tool of the market and how
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that sacredness that one has in life is being lost. That would be,
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as I see it, the thing that interested me most and to have this
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curve. I always wanted to have that Yocasso ascent character curve and sometimes defines
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it in English, because it' s like more direct than this Rise and
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Fall thing. That curve interested me very much in someone who sacrifices his talent,
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sacrifices his integrity to become a product. That' s what interests me
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the most. Obviously, faith is something that I am a fanatic of everyone.
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It' s something I' m very interested in. He' s
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uterism, I' m fascinated by curanderism. I studied a lot for the
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movie. I also did a lot of research, but it' s not
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a movie about it, but that' s the context, that' s
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the context. Yes, yes, absolutely, but something led you to raise
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this protagonist with that metier let' s say yes, I had beyond that
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it is in my interest all that is he. This as I said,
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the whole mystical part, I always loved it and I had good. I
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have like a past where I cured my asthma when I was a kid,
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with a healer. I mean, I have like a story with this.
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But anyway, it was very natural for me to talk about that subject,
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that that is the context, that is made, to the basis that education
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is made. It was almost ordered by how my interests are and without spoiling,
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as it is usually said in the middle no, what the Holy See
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then speaks of. That' s crazy. I thought I was talking about
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everything I actually wrote it one. For me there is one very important thing
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and it is I studied it with Mauricio Cartoon and you saw no that and
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I got this idea from him and good all his students. I can imagine
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this idea that you don' t start writing. I want to make a
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statement and I started to write, have a generating image and start based on
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that on the way I realized it was a story about self- exploitation.
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You saw the thing I saw a chulhun that now went off in car fashion.
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This thing I told you before, but you know what happened to me,
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that I finished watching the movie the first cut and it was kind of
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magical that I saw as a relationship with some kind of little tribute to my
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dad. The way it went was crazy. It' s not something I
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wanted because at all, but I saw the movie I said in the relationship
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with the child, no, not obviously the tragic part afterwards, but there
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was something about that invisible relationship and that connection and that the boy, somehow,
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was his great pillar and his last place in the face of madness.
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That was something that the film ends up talking about that good my family,
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when they saw her somehow, you tell me if you did this. Because
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of this and they kind of found the silos and people who know me also
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found that and I didn' t want to end up talking about it,
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too, apart from this thing that I was discovering while I was writing that
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I was telling you before, that was a surprise effect. I mean,
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no, I didn' t think I was gonna miss some of this,
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something that got away from me. I didn' t write it. I
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saw everything and mounted it in a way and then alvalo I realized and it
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' s something that surprised me on an artistic level, that it was very
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nice, a father relationship and a relationship to talk about pataniness, this idea
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of the son as actually salvation and, at the same time, this sacred
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connection. I' m saying nych the sacred word. But well, even
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if the film is going to notice, because it' s something that impresses
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me that the links also speak. The bond. Yeah, it' s
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a bond story, it' s a clearly bonded story, it' s
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a good story. It also gives passo and here nothing a special tribute to
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Claudio, a great actor and step. You saw that it' s usually
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said no good. Those of us who shared the set with him saw it,
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but good. I' ll take it off a lot. But the
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relationship also of this bond of faithful friendship that at some point is broken as
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an exploration of this of the mother. The mother is also overprotective Leona who
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makes elisa. It' s like a little bonding study, without going to
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the everyday part. It is as a mark in this story that it is
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medium- large, but it does define the bonds. It' s a
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know- how now how you got to a Uruguayan protagonist. The story is
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spectacular, well, I don' t know if spectacular, but the story
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and there were other possibilities there was another possible. I actually started the movie
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by writing with an actor in my head later, but something really crazy happened
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to me in the pandemic. I was watching filming in the middle of a
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pandemic. You saw I couldn' t get out and hook up on TV
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and the Luis incident of Rotter, which I said by the way. I
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send him a greeting that I met him now in Montevideo and I told him
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this too. Obviously, and I' m watching the movie, the movie
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just started and I see Roberto' s face I say who this guy is.
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I can escape from all Argentine actors, but 90 percent of them I
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know. The whole under. Who is this guy? I don' t
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know him and I see myself as the film appeared Roberto Sores, Uruguayan actor.
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I keep thinking. I see it a little more and I go is
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spectacular the face of the gestures, the micromovements. I say what a good
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actor you want to meet and I think I sign a lot in Uruguay and
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I have many friends there. I write to you I say what you pass
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to Roberto to be yes, obviously, I' m signing with him now
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or what good would happen to me is the phone so I don' t
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want to make a long and I' m thinking ah but call it.
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You already told me the movie was going on. It wasn' t that
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it was the next day, while Rotter' s movie then I saw it
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well, not me, but I say the movie was going up and I
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was with this conversation. He hands me the phone. I tell you how
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I' m going to write it or write it to you is your handle
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that I was told and I actually wrote to you. Roberto I' m
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from Argentina, I' m Agustín I' m a director who was going
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to be my first film. I saw you We know what it' s
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about. He answers me. This is the healer that I know and tells
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me to do it. Let' s do it in four messages later I
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traveled to Uruguay also in the pandemic there that there was nothing there, you
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couldn' t move a pin and I met him and I met him we
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became friends. In fact, I was in Uruguay now and I was with
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him and we ended up being friends, because he' s a first guy,
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very talented, but also another guy who' s amazing to work with
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and a very committed actor, I say very creative. Throwing lives all the
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time we went to study hypnosis, we did several things and it was spectacular.
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There is in the film in El Santo there is a very visible intention
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not to address the subject of curanderism of alternative medicines in a sarcastic way and,
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at the same time, that raises disturbing questions at times in history.
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How you managed to get around that place if you wanted it or easy and
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it was the most important thing. I mean, well, I don'
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t know if it' s the most important thing, but when we got
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together with eva padro, which is the friend and I was lucky that she
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' s the producer, we said let' s watch this movie. Let
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' s not be tempted to show something bizarre. I don' t mean,
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let' s not look from above at someone who goes, neither to
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the Holy One nor because sometimes that resource is simple and very effective. And
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it is but the truth that to make one I said it the other day,
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to make a movie, to do that I don' t do it
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to make fun of someone. It' s like an effort to make a
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movie, but for that it' s like delusional and it was something that
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we were very committed at all times not to look from above. That was
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a very key thing, not to put yourself above the characters. No,
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no, no, but little by little it' s judging them all,
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yes, not really. I wasn' t interested in that in judging,
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let alone in a movie. Not yet. Obviously, in life he escapes
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judging people, but making the titanic effort to make a movie the way we
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did to ah look at people doesn' t interest me. The truth and
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it was something very much like one of the purposes of the film, as
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of the slogans. No. We can' t make fun of it,
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we can' t get a bizarre look at it, because, for example,
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sometimes they tell us about the egg ah that' s a pavada you
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put, not the egg. That' s why we studied far back stops
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that we put the egg that at a time when they use it to determine,
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diagnose. It is used from shamanic Russia, from Siberia to Latin America.
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It is the diagnostic method used by shamans and healers in Mexico. It
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' s something that, apart from going through all of us weren' t
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very conscious, but we didn' t make the movie for that, to
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show ah Mira, we' re more alive, because now you won the
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award for the best director in last year' s Baffisi international competition. What
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did you find out at the time that you hadn' t noticed? It
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' s a movie. That' s an excellent question you' re asking
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Look, thank you. No no because it also happened to me that when
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I saw the first film, which was also Baffís, and the time there
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I realized that a bond was broken you saw as the one I edited,
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the one I thought with the editor and what I know suddenly, the film
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flew and had its. Now he has his own life. I saw the
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festivals with the film with Eva, but it' s like an independent being.
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First that happened to me to have like some kind of testet. I
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don' t know how to say it about taking life and then recognizing.
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That was a recognition that I really didn' t expect, a recognition that
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greatly touched me. We didn' t even have it in him Well,
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that' s where you saw it. It was a lot of surprise and,
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obviously, a lot of pride and nothing is a very nice feeling.
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Now the film comes from touring several international festivals in very different places among themselves,
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I do not say Brazil, Serbia, Russia, China, among others.
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How the public reacts acquired such different audiences not, On the other hand,
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it acquired another meaning. The movie' s great. What you say.
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I was afraid when we went to China, especially we were invited to
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Marco Muller. The frame didn' t interest you in this movie that I
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came and I told you Eva we' re going to China. Not in
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understanding, obviously, prejudice I say no, I don' t know that
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there isn' t and and I went to China and discovered that there is
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one perennial thing all over the side that is well understood the theme of the
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film or the context and we understand this whole category of the rise and folo,
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as you said, the ascent and sunset is as it is a subject
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that is very tangible in all cultures, either by the popstars, or by
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sportsmen. Then it was very, very surprising, it was performed very well
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in all places in Serbia. I was also impressed by the fact that it
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is an objectively more airtight culture than we do and I don' t know
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the movie they keep giving and a full room and like and won the prize.
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In that case I was lucky enough to win the award to the public,
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I say I was less surprised. On the other hand, nothing less
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is a worse than the public prize is the most important. I think it
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' s festive. I think so. I think so. Well, then
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we invite you to enter into this highly award- winning story, which has
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gone through festivals and now reaches Buenos Aires, Cinearte, Cacodelfia, El Santo,
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Agustín Carbonere' s film with Roberto Suárez, Elisa Carricajo and in his
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posthumous work, Claudio da Pasano. Tomorrow then it premieres at the Cinearte,
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Cacodelfia and good go to see it. As we say, always watch cinema
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in the Argentine cinema and like this you have to see it in the cinema.
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Thank you very much, thank you very much for the invitation. We
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' re moving forward in audio- visual gp, radio. Have faith in
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me. You have to believe me desperate. Surrender, forget about medicine,
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science. Those are superstitions worship me destroy me make me immortal. El Santo,
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a film by Agustín Carbonere, awarded the best film in the BAFFISI international
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competition. The Holy premiere only in Salas. Tomorrow a long- awaited film
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by Nicolás Gillavedra, starring Zoe josh Van and Sophia Gala Castiglione, opens as
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the sea, with a special participation by Carmen Maura. This is a screenplay
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of Zoe John herself with Gustavo Gersberg, who addresses a reflection on identity from
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the explosive discovery, I would say that it provokes a transformative ia. We
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' re with soe joshe van. Thank you so much for joining us today.
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How are you? Hi Juliano. Thank you for seeing me. It
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' s a pleasure to see you here after a year. Then, exactly
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well, let' s continue to renew then as a runaway, with movies
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and stories, once a year, at least exactly good. What was the
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origin of the story of how the good sea long ago, about seven years
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ago, I took classes with Gustavo de Screen and because of something that had
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happened to him far away, that is, it was like the Laura was
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similar, but not the story. A partner of mine from the High School.
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I told Agustín Gus I want to do theater. Please write me a
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play and he looks at me as if writing to me, let' s
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write it together for what you' re selling this space. And there we
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embarked on writing a play that we had premiere date Juli seventeen de ju Bueno,
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I don' t remember what year in until trilce we were going to
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premiere. And he just summons me to Nico Nicolás Gillavedra to make the universe
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of Anne Frank that we had tours for a whole year doing performances, without
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stopping four times a week crazy and I had to well postpone this project as
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the sea and then reappeared with the desire that it be a movie. And
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since with Nico we already had a very beautiful bond and he has a sensitivity
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as director and as a man and as a very particular person, I decided
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to introduce him. Yeah, first he said he didn' t make a
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little wish and then he said yes and here we are. I mean,
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we' re gonna premiere on March 28th in the movies. I just can
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' t believe it. Yes, moreover, in cinemas at a time that
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it is so important to reach the public through the halls, that it is
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resistance. I say that' s what you saw being able to release a
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movie now, be able to do, be able to film, execute,
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let' s say make dreams come true out of the cliché, not like
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really right now that we' re seeing the country with culture, with so
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much risk, where it seems like the least important thing to premiere the movie
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in the cinema and that people, they' re going to see it?
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Did you see people go to the living room? Yeah? Yeah? Yeah?
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Yeah? Exactly It' s absolutely important. And how you warned that
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this story had elements to transform into a movie. It' s a question.
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Actually, I think it was a bit of a whim, like I
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said, no better than that movie. We made the changes that were necessary
23:48
to make it into a movie. He always had something audiovisual. It wasn
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' t like three acts or five acts, but it was all screened,
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with screens back. In fact, with Gustavo I was seventeen and we went
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out polonium together with my camera, to film scenes to put on the screen
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for the play, that is, to the day from which background, clear
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background exactly looks. There was always something audiovisual. In fact, we'
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re mostly audio- visual. With Gustavo I later made theater, but most
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of all we are audiovisual. And I think that was Gainor' s whim.
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I think that movie and well then get it no and good without spoiling
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let' s say, as they say now, not what the sea is
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about, as the sea good as the sea equals. It is interesting to
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spoil it, because in reality the secret ends up being an excuse for what
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really matters from the film, which is the journey of it No Road Movie,
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which is actually their journey that even I do not like to say is
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not even a journey of transformation, that, of course on every trip there
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is a transformation, but it is more than anything a journey of acceptance.
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They mate with one type of bond and end up with another. But not
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by the label, not by now she' s my sister, now she
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' s my mother now, but something appears that' s what really matters,
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that' s the truth. The truth appears. And when one is
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in the truth, when one can live from the truth, it is that
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one is free and in some world that is freedom, but to know what
25:26
identity one has. No, well, there' s the tera screaming as
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much freedom as possible. I mean as close to one' s identity as
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possible is freedom. And this is a movie that' s a search for
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the identity of who I am, who surrounds me who I want to stay
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with. The secret ends up being the excuse for them to pull the path
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of truth. Of course, yes, it' s true, it'
25:59
s essentially a story about identity and about ties. The grays always taught us
26:04
the extremes of the bonds white, black, Mom, Dad, Mom,
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good, Mom, bad, And suddenly there' s a world in the
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middle of the grays, yeah, and there' s as many ties as
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there are people in the world. Then why everything has to have a perfect
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name. There is no such thing as the exact label. That is,
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there are different ways to link, even within motherhood, there is different maternal,
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even within that, you can not be mother and mother equal, yes,
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yes, such as, as? Now how much of you there is
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in blue the character that you compose this girl that looks so messy, so
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tough and good. Inevitably, when you write a piece you put a lot
26:59
of one when you also mean one, it is impossible to separate 100%.
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I think the actors are trying to break up as much as we can.
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But it is still our body and in the case as a screenwriter,
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of or still is. It' s still my words. But there was
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a lot of hard work working to get a lot out of soé, not
27:23
because I am very politically correct. I' m very much that I'
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ve always been since I was. It' s weird that you see me
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in a bad mood, weird that you' re giving me a bad answer.
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It is rare that that happens then to go to that adolescent place like
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you had to remember a little bit of adolescence and remove there clearly, one
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as a teenager answer such, yes there is the defensive all the time.
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It' s all a lot, it' s all like the biggest tragedy
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of your life. There' s a tragedy of lying here anyway. Yeah,
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in some way of a tragedy, but I think there was like a
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path in verse, like trying to pull Sobe out a little bit and put
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this teenager who sucks everyone else an egg. You saw. Yeah, yeah,
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yeah. Now for moments, even though she' s the youngest of
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the two, let' s say we' re not going to say the
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link, but she' s the youngest of the two, she looks the
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most adult. Yes, in relation to the character who composed sophia gala,
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not entirely, and they were also decisions. You saw how adolescence is underestimated
28:37
a lot by young people. Yeah. I think that in this case,
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in fact, it is something that I was very much wondering how it reacts.
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I remember, a spectator at the Malaga Festival finished the film and I
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want to ask you a question. Why blue reacts like that and doesn'
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t start screaming and breaking everything and reeks and it' s like that'
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s what we expect. But you can also be a teenager and take things
29:04
differently. I say why we always expect the teenager to do everything on instinct
29:08
alone. There are other kinds of reactions, too, and sometimes you'
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re paralyzed. You saw such terrible news, before a truth or a lie,
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and I think I could run the teenager from the rebel that he always
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reacts to like beginning to respect people at all their ages. Now, as
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the sea poses topics like the friendship between Paula, the character of sophia gala
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and blue, but there is also a goal to talk about this that you
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were just commenting on the search for identity specifically of women. What the issue
29:55
of identity implies for you. Well, that' s enough of a gagina.
30:00
I think I' m saying it' s very important, especially now
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that we' re here. It' s coming on the 24th of March.
30:07
I also think it' s very important. It is a search for
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everyone, it is a collective, individual, but above all collective search.
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Identity is built not only through one, but also through the others. That
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' s why in this movie Blue you can' t build your identity on
30:22
your own. She needs Paula to build her identity, she needs her family,
30:27
the people who acquire her, who surround her that good is also that.
30:32
Sometimes there aren' t that many people. Sometimes it' s just
30:34
the people you have in front of you And if you don' t forgive
30:40
or if you don' t accept, that which you have in front of
30:44
you remains only at some point, and to me, personally, it'
30:48
s a subject that always moved me a lot as a personal search, as
30:55
a teenager, I think that even all people keep looking for our identity until
30:59
the day we die, we die even capable of death also who knows.
31:00
Well personal, I also say with Mico and Augustia we have just finished filming
31:03
a documentary about the flights of death of the dictatorship that premieres this year.
31:10
Also good my aunt director of the Park of Memory for many years. It
31:15
' s a topic that crosses me on a personal level, that I feel
31:22
that also at some point, telling a teenager' s journey in search of
31:30
his identity is also touching other types of identities and also who knows. Someone
31:33
sees that and says che. I also want to find out about who my
31:37
father is, who my mother is, who I am, well, yes,
31:45
in this case through a fiction, a journey, but well, just
31:52
now, you said also this documentary that you just finished, which is another
31:57
way to think about identity as well. Now how you get to the public.
32:02
Not like the sea had. She was awarded in Miami and that was
32:07
her world premiere. Yes, after they have just presented themselves in Malaga,
32:15
as you commented, just what returns were found there in so different audiences.
32:22
On the other hand, what they told you, what happened, that'
32:28
s very interesting. That' s what we started in Miami, which is,
32:32
that we won the best Latin panorama movie award. Then we went to
32:36
the Punta Festival in this one and won the award to the public, an
32:38
award that is very special. And then Malaga and as you say, they
32:43
' re so different audiences. I don' t know. In Miami it
32:45
happened to us that people laughed a lot at scenes that they could. I
32:49
mean, the movie has a lot of comedy tones. Yeah, we didn
32:52
' t expect it that way And all of a sudden it' s so
32:59
nice to see what they find, I say viewers, as they complete the
33:02
experience of making a movie, they just give it the sense that you'
33:07
ve been looking for it and that you try to put it on all the
33:07
time as a filmmaker. And all of a sudden, in a moment you
33:09
let go that the film is people' s, the movie is the audience
33:14
' s, the movie' s spectator' s. And that completes that
33:16
psychomagic experience, which is a film and then without bad in many people tearing
33:24
crying many questions of this that told you why reaction like this or why the
33:30
issue of identity and motherhood impacted them much more. It' s very nice
33:38
to see those differences of spectators and now the illusion of premiere in my country,
33:45
I get to see it my friends, my family, my people,
33:51
my colleagues, those reactions that you have very anxious for good what you think
33:58
can be more. Thank you, I' m Hutch Van. We are
34:04
now with Lucía Celes after winning the award for the best Argentine film of the
34:12
last bfphysic. In Yung terminal, Lucia' s name was given an unusual
34:16
visibility and relevance this year. His new production will be the inaugural film of
34:24
the Buenos Aires International Independent Film Festival, which will begin on April 17.
34:30
We' re with Lucia Celes. It' s a pleasure to welcome you
34:36
here on Gp SE Audiovisual Radio. Lucia, how are you, how are
34:39
you? If you can get a little closer to the microphone, because we
34:45
' re not listening well. That' s where we hear you perfect.
34:50
Thank you very much. Well private scuol. Alfonsina Stornie is quite an enigma.
34:57
There are no images, no prior information, much less press gazetilla what
35:00
it is. Look at me It happens to blame the fonda. Storni is
35:13
like a central video of myself. And when they are central videos, if
35:17
I talk about that video, that hurts me I prefer as they are already
35:25
central videos I prefer neither speak and that video speaks, I mean that'
35:30
s that. Uh- huh Uh- huh I' m counting for myself
35:37
on your bull. Well done, yes, sorry. The only thing I
35:43
wouldn' t forgive you, the only thing that would add up to you
35:46
is that I consider that. I consider that so I am one of the
35:52
few people who can live up to alfunfina torn and that and at one point
35:57
appears once in a collective by Necochea and it was heartbreaking and beautiful that there
36:05
was just a monument to those to a monuments with a flag of Chile that
36:08
said Chile Country of poets. I mean, you don' t know the
36:15
impression that it is and comes a collective with my car and I go but
36:19
see a monument that says Chile country of poets. Then I went down,
36:22
I recorded that monument a lot and I put it in this video aha and
36:30
you worked with an elaborate script or previously or you opened up to the possibility
36:37
of creating new situations during the filming or as facts like this appeared that you
36:39
are relaxing. Yes, I record very quickly and I always go with a
36:45
lot of fragment that I want to always be recorded. They' re a
36:51
lot of bad guys, franklings, you' d want them to be recorded
36:54
that I was going to record. And that and about that is that,
36:59
like, it' s all written and good and then it' s that,
37:06
but no one knows anything, I get out of what' s going
37:08
to be recorded myself. And well, that' s how the videos aha
37:15
are triggered and you always work with the same group of people or mostly yes,
37:25
and that' s why good, because we love each other, we
37:30
respect each other. Besides, some of them in this video are from the
37:34
other series of videos, which is the technology could chain to that now there
37:40
are zero six parts and then, well, that' s what we already
37:46
know. I' m just as excited to add aliens, that' s
37:55
people who didn' t expect them to anyone or the people themselves, those
38:04
who add up yes yes and somehow you also feel safer in saying, in
38:09
that contor, in that family context, and I' m safer than I
38:14
am. There' s no one there Look at you That' s good.
38:20
It' s impossible to be safer than me in aesthetics, I mean,
38:24
I swear they don' t exist there. Aha, aha, I
38:28
mean, I don' t give my problems, I have, I have,
38:31
I mean, all my scourges as a mountaineer with everyone, but it
38:37
never goes through security, because safer it is impossible aha that is, when
38:45
you already decide what is the axis of what you want to relate you go
38:50
out there and right, yes, yes, yes, because you don'
38:53
t know what I want, everything I record. I mean, I work
38:54
just as well as wanting to infinity what I do that and and there are
39:01
so many things that I want, that are all from myself, that'
39:08
s what becomes very simple and that' s why no one is safer than
39:12
me. In fact, well about that that makes a clarification that there was
39:16
just a picture of me there with a book next to it, with a
39:22
book of the Vilariño idea, that I am a person that I respect very
39:25
much bilaiño day, but it just hurts me to appear a photo with a
39:30
book, because I never sit anyone. I' m a person who'
39:32
s never going to quote anyone in his life, because it' s only
39:37
up to me then to appear with a book I relate to other people who
39:43
in aesthetics make appointments and that starting with weddings and other two stupid things that
39:51
I can' t tolerate. It' s good, a very particular view
39:54
of yours also along with that security that you described this way of looking at
40:04
the world and but that I' m always focused looking at that aha that
40:08
' s not that, you don' t know how focused I' m
40:10
always. I mean, and this is kind of so that you guys value
40:16
each other more. Saturday night I was in a hospital lying down and I
40:21
was noticing, I mean, I had an infection, an emergency. There
40:24
I was in the hospital lying down, scoring as always and apart, I
40:31
was resatisfied and that' s the one hundred and twenty- eight scoring in
40:38
the hospital, the heavy doctor who was writing a novel was lying down,
40:43
because it didn' t come any more and then I returned in the one
40:45
hundred and sixty to Khan. I mean, always focused. Then of course,
40:50
anyone could think seen from outside is in trance, in creative trance,
40:54
I would say, no, no, no, of course, yes,
40:57
but that' s coast. It' s the trance. For me it
41:01
is the interruption of that, that is, the grand. For me it
41:06
' s li and he doesn' t know how painful that is, because
41:08
that' s it. I am always concentrated and subject to my orders.
41:15
Well, you know, I read out there that you have a lot of
41:22
quaternities, that you write a lot that you' re recording this that you
41:28
' re counting, no, that it' s a permanent record of situations
41:35
and that I' m a graphist, well, I' m a classical
41:38
guitarist, I' m a pantanionist too, but what' s more to
41:42
me is classical guitarists, music and the people I admire the most in the
41:42
world. It' s an insult to me to compare a video director with
41:45
a classical guitarist, always a lousy one, a classical guitarist the most discretite.
41:52
It' s better than a Vineasta or a filmmaker seven points, that
42:00
' s it, that' s me. It' s what most respect
42:02
musicians are, because I know the sacrifice it is and how difficult it is
42:07
and it' s the most beautiful thing to study music and it' s
42:08
what costs me the same. But what I was going to do is and
42:13
I' m good and I' m hot. Then I' m here
42:15
all the time. That' s not knowing how cute the foma is and
42:19
I' m all the time scoring out to be the way it' s
42:23
common, yes, it' s well- being aha or all good to
42:28
be better. That said, no, no, of course, yes,
42:30
of course, yes, that was very important for creation, well, but
42:35
since very Chiquita I had the problem of being very locked away that outside of
42:44
my passions, I do not distinguish other passions. But from Chiquita I sometimes
42:49
realize that deformity, because from Chiquita it happened to me that I did not
42:54
conceive of the other things that I was passionate about and that otherwise I did
43:00
not and that is that yes, yes, but well, it is fine.
43:05
This is a way of being in the world. Lucia is very grateful
43:08
for this contact. We will then be on the 17th of April, at
43:15
the inauguration of the Baffisi, with the premiere of the private School Alfonsina Storny
43:22
and then we will be revealed many unknowns. Thank you. See you later
43:29
on GPS audio- visual radio. Now tomorrow do not come to an end,
43:37
but I think that early new will come out so dull by the inauguration
43:40
of the new temple that I ordered that the last of Sunday we will stop
43:45
at the resolved one. We can' t go straight. I can drive
43:47
if you' re tired. You' re not here to talk fomental.
43:51
I need to teach you things. Let' s still walk safely and you
44:01
can about patience. The good lord is not going to abandon us now.
44:06
You hear a Joseph or anything I need, his wife says no. No.
44:16
She' s not my daughter Elena' s wife, how much she
44:23
calculates broken need, sir I get her in olaca. Don' t worry
44:25
about us. We have time and deep are you. Nowhere did we preach
44:32
praise. Lord visions brothers, blessings, brothers his hand, but what is
44:44
your name. I' m Emilio. You don' t get the punch.
44:46
You don' t get the punch. I' m worth just like
44:49
Lenny. God gave you a mighty beautiful spirit. I' d like to
44:53
invite José Emilio to a baptism. Here where Pastor Saca is hidden with his
45:00
head. In the village there are many evangelicals, just as you insistant are
45:09
not for me where Lene would walk that day of jo the wind that sweeps
45:16
away with direction of Paula Hernández, acclaimed in Toronto and San Sebastián. The
45:23
wind raging premiere in Salas Thursday 21st of March. Almudina González is the great
45:40
female protagonist of the wind that sweeps away Paula Hernández' s shocking rod move,
45:50
in which she shares leading roles, no less than with Alfredo Castro,
45:57
Sergi López and Joaquina Acebo, we are with Almudena González. It' s
46:01
nice to meet you here on GPS audiovisual radio Almudena how you are. Thank
46:06
you very much, well, you guys, good here. Well, let
46:10
' s start at the beginning. We' d say how you got to
46:15
the script of the wind that' s raging and what your first impression was.
46:19
Well, first of all, I had read the book as measured by
46:24
a chance at two thousand and eighteen in college They gave it to me to
46:30
read it. I saw the National University of the Arts, I studied acting
46:32
bachelor' s degree and we were given that book along with barkers, Selva
46:38
Almada' s two novels to work monologues and I had chosen bricklayers. But,
46:44
well, I had stayed very with that universe and at the beginning of
46:47
two thousand twenty- two I got a first casting to do so, to
46:53
film my house and as a monologue of presentation of Lenin' s character,
46:59
and the truth is that I recognized myself as having read the novel and I
47:02
like to do balmada and I also like Paula' s cinema that had seen
47:06
his films and I said like what you want with all this. And it
47:09
was a very long casting process, about five months. It was five stages.
47:15
Let' s say one per month where I was getting comfortable. Well,
47:21
you' ve got a face- to- face moment, I knew
47:27
her, Paula, then a scene with an actor. Then, I finally
47:29
traveled to Uruguay to do as the last casting and in that last stage,
47:34
there they gave me the whole script to read it. That happens a little
47:39
bit, that with the actors, unless they still don' t have a
47:44
reputation, a trajectory that' s like they don' t give you a
47:47
script and say yes very nice, I feel like doing it or I don
47:52
' t feel like doing it, but the process is like a little more
47:57
confidential. At one point, I had the advantage that I had read the
47:59
novel note, so I knew more or less where the world was going.
48:02
And the truth is that it was a huge joy when I was vice to
48:07
something that had been left and how was the bond with Paul Hernandez, with
48:14
Pau of all that time and already when you stayed and started to build this
48:19
character. The truth is, from the beginning, that first casting I met
48:24
her, something very special happened. You saw what I was like to say,
48:30
that monologue and he was already in front of me and he was listening
48:35
to me, asking me questions. There was like a connection to love us
48:40
and to understand a little like what world each one brought after we had a
48:46
whole process of essays of about a month and a half together with Maria Laura
48:52
Berge is the casting director in which well we read the script many times.
48:58
We started to find the character in an accent as well and then the filming
49:05
continues that was six weeks, but well we were living two months in Uruguay.
49:09
Then we also share a lot of everyday life. And the truth is
49:14
that for me Paula is a teacher and also a mother' s trade and
49:17
also a friend' s trade like but I don' t know we had
49:25
a very special work and human connection. Well, your role, your Leni
49:30
starring is consecrated in more than one aspect. I would say, because it
49:37
is the only female protagonist of relevance and at the same time Paulo Hernández wanted
49:45
it to be told since passing through the look of your character the story.
49:50
How you built this Leniy. The truth is that it was a huge challenge,
49:59
because it is a character very different from what I am, since I
50:02
am religious. He lives in the country. She' s a very shy
50:07
living woman, she has other tools. I mean, there' s a
50:12
strong composition thing there that at least I personally had never gone through that before.
50:16
Then it was like getting intensely into that world and at first it was
50:22
like trying to understand it rationally. And I remember some first talks with Paula
50:27
and Maria Laura about how not to judge this character and also how difficult not
50:30
to do it, not to put it in a victim' s place,
50:36
not to flatten it, not to say it is a poor piva. I
50:38
mean, it would be like the first thing and then something like when I
50:45
got into the process. It tells me how I incarnated him seen there were
50:47
times when maybe I wasn' t filming and I was starting to talk like
50:52
Lenny and he was laughing and he was saying you' re talking like a
50:54
man and what' s up. And the truth is that it' s
50:58
a character that taught me a lot of things like a little bit, the
51:04
simplicity of life and observation. And I don' t know how I feel
51:12
that a little Lenny chose me as well, not as it was. There
51:17
is a dialogue, half mysterious, half mystical and which part of Lenny Te
51:24
transports are very different. You just said it, but to your own experiences
51:30
how much reality there is in that fiction. This girl is a teenager,
51:38
well, I mean, there' s a little bit of a very deep
51:44
question that has the character that I think as a teenager more, but I
51:50
still have it, I lived it and also well, something like the eternal
51:59
history of humans, the bond with the father, not like something in general.
52:05
The bond with a father and what he can teach you in a father
52:08
and also what a father can destroy you. And obviously, the telenic link
52:14
in the reverend has nothing to do with the bond with my father, luckily,
52:19
but well. I don' t know there, too. I feel
52:22
like I learned a lot of things and even in a strange way, the
52:28
bond with my dad changed after I had filmed this movie like there was.
52:31
There is a way to pass through those human stadiums that, luckily, acting
52:37
and cinema make us, at least us actors, embody and interpret that good
52:42
are also like a little clues to life and the greatest challenge what was for
52:49
you of acting with this character. Yeah, and I think the accent you
53:00
know the accent is something that, in fact, nowadays, watching the movie,
53:07
I' ve seen it like fifteen times, it' s something that
53:10
gives me insecurity. I don' t like to hear these questions from him.
53:15
Well, and you, actress, like to see you. It'
53:17
s hard for me, it' s not hard for me to see myself,
53:22
but in this movie with some accent, I' m a reporter and
53:27
we had to find there as an accent among riano, but half mixed,
53:30
half Uruguayan border, as something of mine that didn' t exist. Yeah,
53:31
he' s really honored about that aspect in the movie. Yes,
53:36
yes, thanks to Mariana García Guerreiro, who was my faculty teacher and my
53:40
foniatra and vocal coach in this film. He kissed her. That was a
53:46
little bit of a skirmish, a lot of rock, not just for me,
53:52
but for the four of us. I say how uay had a moment
53:55
accent on the previous one, especially the shooting more than he did, during
53:59
which time it was. As a good thing, we' re starting and
54:02
we' re talking like that It' s built in. Sure? Sure?
54:04
Sure? Sure? Well, that' s one of the many hits
54:08
the wind' s got. Now you had the opportunity to watch the film
54:15
in Toronto, in San Sebastián, in Mar del Plata and now in its
54:20
commercial premiere, and I guess you' ve seen it again in Buenos Aires
54:27
for six months. To this part, how did your perception of the film
54:31
change? It changed your perception of the movie In principle, you find new
54:37
meanings. Yeah, yeah, actually, it did me good to see her
54:44
so many times and with different audiences. No, as obviously, it'
54:46
s not the same. How I received the film people in Canada, in
54:51
Spain, in France, at the Mar del Plata Festival and now at nothing.
54:57
The people who live here in Buenos Aires who bought a ticket go to
54:59
the cinema, as well as my friends and my family who saw it.
55:05
I believe that I am also very much affected by the perception of others,
55:08
not as something in front of the material. I say the first time the
55:13
VI was a first cut. Still not finished in Paula' s house on
55:19
a computer imagine. Of course it wasn' t the best circumstances. Claro
55:25
was more or less in March last year, a year ago and then the
55:31
projected VI. Nor was it finished on a small screen, but projected in
55:39
July last year. And then, well, everything about the festivals and blah.
55:45
The truth is that I' m always finding him new things, new
55:52
reviews good and bad. I also say I recognize that I' m critical
55:55
of the film. It' s not that I' m absolutely in love
56:00
and I say this one hundred percent spectacular as I love it. I love
56:04
that this material exists. And there are also things that I don' t
56:09
like what I do, that is, there are things that I know for
56:14
myself are a pillar that is like the direction, the basic script, the
56:20
photography, the performances of my colleagues are also impressive, as this was told
56:23
by the composition. They are characters like delicious, not from watching and acting
56:29
and that we don' t usually watch in movies, and that also seems
56:34
to me like a treasure of the movie Not sometimes the cinema that I am
56:38
more costumbrist, it' s more like with a realistic code and here there
56:45
' s like a meaning to that. Yes, it runs from that of
56:47
all those places, perhaps more common, more obvious, to just delve into
56:54
these links, not father and son, this and with these characters is at
57:01
times disturbing, lovable, incomprehensible sometimes, but well, there is Tuleni to
57:08
bring that look. Then Salmudena González, the co- star, the great
57:16
co- star of the wind that sweeps away this film that we have already
57:22
recommended and we continue to recommend, by Paulo Hernández, with Alfredo Castro,
57:29
Sergi López and Joaquín Acebo, which can be seen in theaters, to see,
57:34
to see. It' s in negomon, they' re in Palermo
57:37
cinema. I know that I already have the scoop that at least until next
57:40
Thursday, that is, until Thursday, April 4, it will continue,
57:45
it has its schedules. You can only see it in movies. So go.
57:49
The cinema is exactly in the interior of the country, also if they
57:53
do not live in Buenos Aires and nothing. I also take this opportunity to
58:00
say that going to the cinema is important at this time, not only for
58:05
banking the film, but for banking the national cinema, the national culture,
58:10
which is being threatened and underserved, and that it is important to continue supporting
58:19
it, embracing it and defending it. Yes, exactly. Thank you so
58:22
much for joining us Almudena tremendously a very big kiss. Thank you very much,
58:27
Julia. We continue on GPS audio- visual radio and we are saying
58:36
goodbye until next Wednesday here on radio train topic and you know, as we
58:43
say always and today more than ever, see without Argentine until next week.
58:46
And thank you for joining us. This was GTs audiovisual Radio. We expect
59:13
you next Wednesday at 19 hours by radio thirty or train