Latest / GPS Audiovisual / GPS Audiovisual T05 P15 - ENTREVISTAS MARTIN RIWNYJ, ADRIANO BRUZZESE, POLI MARTÍNEZ KAPLUN, SABRINA FARJI

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GPS Audiovisual T05 P15 - ENTREVISTAS MARTIN RIWNYJ, ADRIANO BRUZZESE, POLI MARTÍNEZ KAPLUN, SABRINA FARJI · GPS Audiovisual

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Audiovisual GPS 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 GPS audio- visual Radio,
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continue to bet and struggle for culture as the fundamental pillar of a society,
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a culture that is plural, accessible and with State resources for its development.
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Welcome to Gp SE Audiovisual Radio, with the journalistic production of Norberto chap
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the technical operation of Gonzalo Sorais and in the driving who speaks Julia Montesoro.
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Martín rug It is the director of Vladimir, the disturbing psychological thriller starring Daniel
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Araoz Carlos Belloso and Marcelo Melingo, which opens tomorrow in more than thirty rooms
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throughout the country. We are now in communication with Martin Rushnick. It'
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s a pleasure to greet you Martin, welcome to GPS audio- visual Radio.
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You hear me. They were good times, we felt beautiful, great
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for TERRISPS, but the passage of time paulito rite that is inevitable. They
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say you pushed raulito down the balcony. You son of a bitch cut it,
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' cause I' m gonna take it all. It' s too
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late for us. I don' t know where the fuck to oscar something.
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It' s like I forgot everything at after I was toasting was how
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to find something you say something transformed me now tape, I can' t
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pinternate. I have to ask you a question. What do you want to
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know if she' s your daughter? I know all my life. Mordo
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is dead. You did well for the fuck of the ultra night, Li
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fell sun and the troll that you let me have trunk of the car.
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Embargo, look at my friend more you' re tacky with tips and as
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the pieces are fitting in, the fabulous is missing one. The last prel
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Vladimir, a film by Martin Rionich with Daniel Aras, Carlos Belloso, Marcelo
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Melingo and cast Vladimir, premiered in Salas 11 April. Martín Rushnick is the
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director of Vladimir, the disturbing psychological thriller starring Daniel Araos, Carlos bevil O
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Marcelo Melingo, which opens tomorrow in more than thirty rooms across the country.
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We are then in communication with Martin Rishnich. It' s a great pleasure.
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Greeting Martin, welcome to GPS audio- visual Radio. How are you
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listening to me? Okay. We' re in some communication trouble today,
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but we' re connected to Vladimir' s director. This film, which
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premieres tomorrow in more than thirty theaters across the country. It is a shocking
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thriller, with a really very, very striking cast that is Daniel Araoz.
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He' s the protagonist of this story. He is the almost exclusive protagonist
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of this story, in which Carlos Belloso and Marcelo Melingo also work. I
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don' t know if you' re listening to me, Martin. I
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think you got your mike speckled. That' s why we can' t
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communicate if we' re there. Well, I' m listening to you
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now. Perfect to perfect. Well welcome to GPS Audiovisual Radio. How well,
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thank you, how did you get to Vladimir? What part of your
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own history and your experience as a plastic artist resonated in your head as you
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approached the one who approached this story in the cinema. Well, just the
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starting point was that' s not cho. From my very early age I
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devoted myself to the plastic arts and had a whole journey. I went from
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the neighborhood workshops and from there until good to finish a high school, a
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high school of vellaneda and get into fine arts in the nickname that sometimes no
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longer exists moons at the National University of Arts. Yes, on that journey
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I have the opportunity to meet many people, such as Pereceris Marta Minujín,
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Well, countless people dedicated to art, painting, sculpture, Well, the
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general arts and at the same time the circumstances surrounding all that eventuality. And
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Vladimir comes up a little bit from those anecdotes of those, memories of his
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own experiences and also experiences lived by others who tell you about them. And
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that' s where I start writing Vladimir, which started about six seven years
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ago. Now the interesting thing that I found in all this was to see
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how we could cross, involve all that personal experience with a genre that is
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the step, the psychological triller, the black comedy and here I round up
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the idea we super urban Always this is our fourth film. We always resort
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to gender. We don' t like being impacted by gender. In this
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case, well the triller to see how we could mix these two universes.
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And that' s where Bladimir comes from. And that' s why Bladimire
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is a very strange film, because it refers to the art world, but
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at the same time it has a structure of psychological and black comedy triller.
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No, I mean, we managed to combine both universes. Now, how
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long it took to get to this premiere tomorrow, how the project started and
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how it was modified on the way look. I' m telling you,
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writing started six years ago. That of coming from the policy and decisions of
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each government that went into reference INCA traced us a lot. The truth is
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that. It was a lot of fun for us until good. One day
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they tell you about INCA, they call you good. You have this support
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and having support from INCA is gravitating to ninety percent of the chances of doing
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it or not doing it. We got together the producers said good to see
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we made a decision. We don' t do it. It was a
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very low budget, very low, it was a risk that had to be
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taken and we decided to do it and that' s why we rolled it
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for just before the pandemic was over. We are in two thousand twenty-
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two of an entire post- production twenty- three year and today we are
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here with the film finished. But, in addition, a luxury, a
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dream realized, because it remained, that is, despite all the time that
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happened and the vicissitudes that we went through and the difficulties, there remained a
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film of which we can feel very but very proud. And how was the
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process of formation, of forming the cast, how the decision to give Daniel
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Araos the central role of this story Mira was at first very chaotic everything because
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I say, it was a film with a very but very low budget.
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But at the same time we had a lot of confidence in the stories,
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we believed that a project could be developed at that time I say in the
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potential, because at that time we didn' t know exactly what where it
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was going and we started talking to many actors to try to record a cast,
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also harmonious in the sense that, as it is the story, it
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' s pretty choral to find, to find the attribute here of each character
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with an actor that corresponded to that And and well, suddenly Daniel appeared.
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I really don' t remember how the name came up. I called him
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on the phone. We talked I sent him on copy. He liked it.
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I was given the truth that daniel ends up building that story that I
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wrote, because daniel puts him tells me look for me, Vladimir is this
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and I said it was not what I had thought. But I like it,
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I like it, and well, because the cinema is to watch.
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I would have been a fool if I had tied myself to the script.
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The script is one thing, that is variable mobile that until the last day
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of filming goes through reforms, modifications and is adjusted through the characters developed by
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human beings, that is, it ceases to be a black letter on a
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white paper. And of course it is this that you have just explained what
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the actors bring and what each one contributes to and be open to the possibility
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of that contribution, which is the likelihood, besides the character, not now,
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Vladimir has metaphysical moments, mysterious deaths, apparitions from the hereafter. How
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was the process of crossing genders. Look, I think, I believe by
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the decision let' s say this crossover of genres. That' s if
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I make a hermeneutic of myself, it' s like I' m not
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gonna make it. But I can tell you that as a movie girl I
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don' t know how to watch ten movies a week and I don'
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t like it. I mean, I' m a big movie consumer.
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And now we have the possibility of platforms. But earlier, Wednesdays, Saturdays
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and Sundays, I went to the movies to see something no matter. I
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was even short on programming, but I still had to go and watch the
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mummy and I had to go into a room and watch a movie. I
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think there' s an accumulation there that goes on in the unconscious, that
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the way to describe and then after when you already run it and you run
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it weigh all those experiences can be experiences that have to do with the actor.
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Admiring an actor a lot, I don' t know how to put
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Marlon brand or let' s go with a name. Or admire a director
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a lot, Christopher Nolan or Federico Fellini or Justurica or yes, and when
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I think that when you sit down to write and then when you sit down
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and look at what you wrote, they' re not directly quoted, but
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they' re ghosts that walk around they' re, they' re,
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they' re, they' re in your unconscious And when you' re
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directing and you give a choice, I don' t like the word to
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address Daniel Arados, I don' t address it. We don' t
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talk and I give you one choice and you give me another. That'
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s why this movie is good, because and the others I said I keep
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the same concept. I don' t like the word directing, I don
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' t like the traffic being directed I know, but it' s one
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thing because you have to have a symbiosis with the actor. I was gonna
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say with your actor, with my actor. And it' s also wrong,
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because it' s not my or anyone' s property. But the
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actors I love, I love them are my brothers in the creative process.
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Not that I' m saying. We did not come to a conclusion,
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the same with the technical team, the same with the production team. For
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me we' re brothers in a quixoteada. We are quijotes there breaking the
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wind and good by clouds on the same road. I mean, it'
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s a collective creation, where, well, there' s a director,
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there' s a producer, but there' s a team going in that
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direction. It is not true in that line of argument, at least now,
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with the final result in sight, with Vladimir already finished, what you
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see there, with what the public will find from tomorrow. It' s
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a movie he' s got, he keeps a suspense from start to finish,
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he' s going to look for ploughs to laugh at. You won
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' t laugh though there are comedy steps at times, but there' s
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a ploughs there. There' s a great Daniel, great great. I
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think he' s taking his work to a huge plane. In my opinion,
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then everyone who sees him give to his own. But it' s
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a movie that catches you. It' s a film at the same time
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that, between crossing various genres, it makes you uncomfortable, it' s
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not going to be comfortable in the chair peacefully, but it generates many questions
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that go there solving towards the end of the film. That' s why
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I reinforce what I said at the beginning, which has a principle suspension.
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Finally and with a very but hallucinating photograph very good, very good. The
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picture is tremendous, the performance of the boys, the girls, the truth
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that they left everything. Besides good, Daniel is the protagonist, but there
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' s Carlos Belloso, Maelgenia, Rigón, Marcelo Mengo, Well, help
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me, because I don' t believe I saw anyone, but Mario,
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Jenia, Rigón Germán, Baudino is Diego. Alonso is not a cast or
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really that I feel privileged to have been able to count on them so that,
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in short, one wants to tell a story, not when one makes
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a film yes clear and count on these performers. Really, for me it
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was a luxury, a dream. So yes, Martin Reunich, well,
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let' s not go much further. Let' s leave the suspense that
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Vladimir has and let people find out. From tomorrow we are in communication with
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Martín Rigneu, visual artist and filmmaker, director of this psychological thriller, with
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Daniel Araos, Carlos Belloso, Marcelo Melingo and cast that will be seen in
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more than thirty rooms throughout the country. Thank you very much for being with
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us and good merc as it is said there, with this premiere of Vladimir.
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From tomorrow then in halls all over the country we continue on GPS,
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audiovisual, radio, but I am said that' s me when I was
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ten years old and that' s my neighborhood where the story is born.
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Here too, there is a stage that ends. I see it changed since
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you went to life and you' re in fart is my dog, that
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let it already be here you' re going to change it Juan and the
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less we cross them better for him and for everyone. They look at the
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whole movement, at what time I left and how many are the family.
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It' s all moved and you' re gonna have the stick and the
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gobo. The Lord also has the phrases. I' m all your space,
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and that' s why the boys don' t know. I kept
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seeing pol costs a week what happens he won' t see for my house
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okay. This has more. If you came down you would go to the
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boat and we would have liked to know what was the last day of our
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childhood to face tomorrow not press with Ofelia, but I think that early you
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come out so dull by the inauguration of the new temple. You want me
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to take care of the last of Sunday. Let' s stop at the
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rose. We can' t go straight. I' m gonna handle myself
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if you' re tired, you' re not in the fort of and
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I have to teach you things. Let' s still walk safely. There
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' s a town about patience, Leny the good lord won' t leave
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us now hear you' re the josé or whatever I need. This is
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a woman, I' m not, no, she' s not my
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daughter Elena' s wife. How much you reckon, sir, I get
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you in olaca. Don' t worry about us. We have time and
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where you are nowhere to be praised. Lord Blessings brothers? Bless you brothers,
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but what' s your name? I' m Emilio, you don
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' t get the punch. You don' t get the punch. I
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' m worth just like God gave you a mighty beautiful spirit. I'
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d like to invite Josemilio to a baptism. Here where Pastor Saca is careful
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what' s sticking his head in. In the village there are many evangelicals,
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just as you jokers are if it wasn' t for me where I
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would walk have that day of Juan Yes, the wind that sweeps away with
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direction of Paula Hernández, hailed in Toronto and San Sebastiá. The wind that
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razes premiere in Salas Thursday 21st of March is with the Undersecretary of Culture of
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Vicente López and director of the Lumitón project, Adriano Brucese. Its area is
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closely linked to Argentine cinema. He is a promoter of initiatives such as the
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Vecine program, Vecine del cinema York or the Lumiton Museum. Thank you for
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joining us here on Radio Adriano audio- visual GPS. Well, you'
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re in full swing. At this very moment Juan Moreira is about to be
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shown at the York cinema, so thank you for taking care of us.
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No, please, how' s Julia? Thanks to you. We'
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re looking at the latest images in Naufragio. He' s coming at twenty
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- thirty. Juan Moreira perfect and tomorrow, since we are windy that breed
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that finished movie last by Paula Hernández with the free entrance, that good here
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in the cinema York as great movie. The wind that sweeps away, great
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film, great film, Well, the cycle looks Argentine takes place in the
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cinema York and puts in value the work of fundamental filmmakers. You just mentioned
23:26
the Liceo Subiela, but also Leonardo Fabio Adolfo will point out the objective and
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how you evaluate the audience' s response. A clarification only for the audience.
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The York cinema at our main operating center, because we have performances from
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Wednesday to Sunday. Sometimes we also have the marquees, but usually Friday to
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Sunday. But also in the Munro Cultural Center, which is the old synastral
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on the street Belejárgel, already very few squares of the house of the stars
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of the lumiton, we also have projections. That is a cultural center called
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Munro Cultural Center today, and there are also performances there on Thursdays and Sundays.
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This little clarification is made not only by York, but also by the
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stamun ro cinema as well, and in that cinema we screen the same poster.
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Let' s say we promote the same curatorship, that we promote the
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fundamental objective here. We permanently curate national cinema, because it seems to us
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to be a way, obviously, of embracing our culture. Our cultural heritage
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is important, because our cinema speaks. He speaks of our sovereignty, speaks
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of our identity, speaks of our freedom, speaks of our contradictions, of
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our achievements and of our history. Also then it is unthinkable that a state
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or municipal management, rather like that, that takes place the Lumiton and the
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Secretariat of Culture one does not promote and in a city of cinema unesco to
24:56
our national cinema. So the first reason is yes. It is true that
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in these months we have boosted this idea, because you know that with the
25:06
run of the months there are every time and of the years let' s
25:10
say less and less screens. The big problem with national cinema is that there
25:12
are no screens to watch national cinema, because today the cinema business goes through
25:17
the other side, not the sale of the entrance, but the sale of
25:18
pochoclo. We do not want to entertain, We do not want to distract.
25:23
We want to generate cultural fabric between the neighbors and, say, between
25:30
the community of vecines and the community of artists. That' s why,
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normally, then in the movies there are open dialogues, notice that in this
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screening the film now ends. They are in my frankel to speak protagonist along
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with Lorenzo Quinteros of last images, the Naufragio, and there is also marcela
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Saez, who was the historical editor, historical companion of Viseo. Then the
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answer is wonderful. The cinema is full. The cinema is full. One
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hundred and eighty- two hundred people, one hundred and seventy two hundred belts,
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that is, cinema does not go down. From there. Then there
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is a very great need and desire to see our national cinema. And it
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seems to me that every now and then, in some contexts, it comes
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very well to review it. And as you were saying, you watch movies
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more than thirty years ago, as can be the work of the Lyceum go
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further still like the other day we saw two movies. Leaving a second shadow
26:19
of antine and there' s a lot of interest. And what gets a
26:22
lot of attention doesn' t get my attention, but people get attention.
26:27
It' s just that there' s a lot of youth blowing up these
26:30
movies. So there' s a huge interest in watching our national cinema.
26:33
Beyond the platforms. There is a great desire to see national cinema in community,
26:40
in cinema with the light out, sharing an experience. It seems to
26:44
me that there is something about that, that mystique or that magic, or
26:48
that it is simply a cultural habit that we greater, that we are accustomed,
26:53
that is taking place today in these days around here and of which we
26:57
are very happy. On the other hand, of course, well, right
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here he was passing at some point solanic victories when you were doing the cycle
27:07
dedicated to Pino, to his father, and he told us about this,
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of the repercussion of the young audience who had never seen a Pino film and
27:21
who were extremely surprised and happy to have access to this type of artists.
27:27
Not entirely, because you know what' s wrong with them. Mira happened
27:32
to us with victory precisely determined to watch the South movie that I love and
27:36
have it there on the topic, because for not a movie that I love
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for how it is made. For everything, let' s say favor Pino,
27:45
but tell me a film that speaks of an inner exile, of an
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inward exile, of the exile that was lived inside at the time, in
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the last process, is in the last dictatorship and that someone twenty years old
27:57
comes and they tell you many, but thank you very much. Why,
28:03
because I' m done understanding our story. There' s something I'
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m done understanding that if they have my parents, they' re scrubbing me.
28:08
There' s something you just saw with the movie, visualize and finish
28:12
clicking. And that usually happens with all the movies. I mean, we
28:21
' re very happy about that. On the one hand, there is a
28:23
great desire to get closer to these issues, beyond the personal tastes of each
28:30
one, to what kind of cinema there is and to understand that cinema plays
28:33
that role as well and that our cultural heritage has to do with that,
28:37
that it is the one who tells us, the one who speaks of us,
28:42
the one who has to do with our adn, with our identity,
28:45
in short, with our sovereignty, with our freedom, with our contradictions,
28:49
with everything that comes in there. And it' s beautiful. It'
28:52
s really beautiful, because one would think that those twenty- year- olds
28:56
I am are just on platforms or watching movies on different devices. It'
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s not full of private. Watching movies. In cinema, then there is
29:04
also something intergenerational, because in open talks, then having someone in their 70s
29:11
commenting on something that is contemporary to their history. But someone in their twenties
29:17
is very interesting how we' re weaving culture. I think it' s
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very nice. Yes, very interesting. We have references to all the work
29:26
that you have been doing and of good, what is happening like this in
29:33
the York cinema and now also in monro, which is exactly to celebrate by
29:38
double game, not because to open more theaters, more possibilities to see Argentine
29:45
cinema in moments where it is happening. Quite the opposite. It' s
29:49
absolutely very, very important now. The preservation of heritage is another good aspect.
29:56
It is one of the historically neglected aspects of national natural mourning organs.
30:02
How the ucin contributes to the lumiton to recover and restore historical files. Perfect.
30:08
He' s good at the question, if you' d let me
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out a little bit. The file is fundamental. The first thing we did
30:15
in the year two thousand and fifteen was to value the house of the stars,
30:21
which was the house where Enrique Telemacozusini the madmen of the roof dreamed the
30:25
producer Lumiton, that is, they bought that house and from there built.
30:30
Then, the first thing we did was to put that person in value so
30:33
that we could think of it as a center of operations or better said,
30:37
like a Ucina that is how it works so many workshops organizing the cycles and
30:44
there was material, because there was a museum that was thanks to the effort
30:48
of the neighbors of Vicente López, who at the time there, in the
30:52
mid- 1990s, had embraced it and had achieved that the space has been
30:53
declared a historical monument. The reality is that he was still in no condition,
30:57
he lacked maintenance. We found the original plans of the house and decided
31:04
to return it to what it originally was. It is in the room where
31:08
I had slept, nor marjal the living where the scripts of the Tuesday orchids
31:15
were written, is to go, begin to understand what place occupied within our
31:19
national history that space. Then, the first thing we began to preserve and
31:23
recover was in some documentation, which also allowed us to write a book later.
31:29
Let' s say we can carry out a book where all the Lumiton
31:34
information is, all the Lumiton documents. We went out to buy all the
31:41
posters because there were no posters from the producer. Today there are eighty-
31:44
eight posters of the one hundred and two films that were filmed along two faces,
31:48
two of each and a half, and then we start doing a deeper
31:51
job. In relation to film material. There was very little in the house,
31:56
but immediately when the project began to take on visibility, there began to
32:01
be a lot of input from many neighbors, some filmmakers coming from the 70s
32:07
of experimental cinema, such as Horacio Valheregio or the collection of Tabo Boroski,
32:13
who was the first artistic director to have the Argentine events. Then, or
32:15
this macarium material, this experimental director photographer, that is, began to arrive
32:22
a lot of material and we began to catalogue it, we began to sort
32:28
it out, we prepared one of the environments with the cold and adapted it
32:31
for the need of that antihumidity that needs a space, of that nature,
32:37
and we began to produce the elements so that we could see that material,
32:42
with a projector thirty- five, with a projector sixteen, with rooms that
32:45
allow us to work in that sense, with the tables that allow us to
32:51
review those materials and from there we began to put in value a lot of
32:54
collections. We worked on García Ferrey' s files, everything that was smas
33:01
de hijitos and well, all that series of short films that, being children
33:09
there, in the mid- 1970s, one ran out of school for his
33:14
home to see it is exactly. There' s a wonderful job that has
33:17
to do with the file, with the story we' re carrying out.
33:21
We advised and joined the team people who had more experience than us, but
33:24
immediately one learns the most important, the most important, and currently we are.
33:34
This seems to me to close. Or we' re working on the
33:39
digital restoration of three films, of three Lumiton titles as the first advance in
33:47
order to get that heritage back. Of course, because the Lumiton films are
33:53
scattered. Some have the Cinema Museum, some have the Cinematics that some have
33:58
the Cinematics of INNK. Let' s say yes, some in the hands
34:05
of private collectors, others in the hands of matures. You know where,
34:07
but well, so the work you' re doing is really formidable to talk
34:15
a lot more, so we' re gonna summon you on another occasion.
34:21
Adriano Brusse, thank you very much for this meeting here on GPS audiovisual Radio
34:28
we will follow very closely, very carefully the proposals of the area of Culture
34:32
of Vicente López, linked to the Argentine audiovisual and good congratulations for this work
34:39
and, above all at this moment, where it is not the most common
34:45
thing, I would say that it is almost unusual to carry forward this type
34:49
of proposals. Thank you very much, thank you very much, Julián,
34:52
hug and it is important the latter, lumiton ar. Yeah, yeah,
34:55
they' re gonna be able to find at a platform level the whole project,
35:01
everything we' re restoring, everything we' re doing, where the
35:05
project points, why it' s a project chosen by Unesco. And besides,
35:08
there was a beautiful national filmography. At this moment there is an Aristaran
35:13
cycle to watch, to review much of his films and there are also other
35:17
very interesting international jewels out there to review many. Let' s grade then
35:22
carefully. Thank you so much, we' re still on GPS audio-
35:55
visual, radio have faith in me you have to believe me you desperate give
36:14
yourselves to medicine, science. Those superstitions of yours will destroy me. Make
36:39
my immortal, El Santo, a film by Agustín Carbonere, award for the
36:50
best film in the international competition of the Baffisi. The Holy premiere only in
36:57
Salas one day I was with mom chatting in tual she painted herself. She
37:15
was a very pretty woman and I naturally came out of seven who was a
37:22
fucking Jew. My mom grabs me and tells me not to say that because
37:30
your father is Jewish. Las Dos mariet a film by Poly Martínez caplum world
37:37
premiere Mar del Plata International Film Festival. Tomorrow Thursday eleven premieres Las Dos marieta
37:52
documentary with direction, production and script by Poly Martínez Caplu It is the reconstruction
38:02
of a family memory that challenges us by talking basically about our identity. After
38:10
its premiere at the Mar del Plata International Film Festival, the Dos Mariet now
38:16
arrives at the Patio Burrich Atlas Room in its first week of exhibition. We
38:24
' re with Poly Martínez Caplum. Thank you so much for joining us,
38:29
Polly and How are you doing, thanks to you, Julián. Well,
38:31
the Two Marit poses, without saying so, the question of how it transforms
38:38
the history of our ancestors. By bringing to the present what led you to
38:43
address this issue. Well, I think I' ve already been working on
38:49
this subject, especially from my second film, called The House of Vance,
38:53
it' s from my own family story. The trigger for that film is
39:01
my son' s decision to make his Bamitsman, which is the Jewish retanization
39:08
to adulthood that surprised me when he walked with his father to tell us this
39:16
of his decision, because we do not have Jewish traditions in our house.
39:24
And when I went to the father, yes, I was always agnostic and
39:32
never had traditions in my family and when we went to the temple there I
39:44
was asked if I was Jewish and it' s his decision. It made
39:47
me wonder, too, what was going on with my own traditions or my
39:52
Jewish root that I came of Jewish origin from my mother' s side,
40:00
and I also realized that it made me realize that I knew very little about
40:06
my family history and, in any case, if I could tell him that
40:10
I had a Jewish mother who was me well, what had happened to that
40:15
Judaism in my family, because we had no traditions. So that' s
40:22
where I went on a search. I also left the documentary through the documentary
40:29
about the history of my family, of Judaism, why I didn' t
40:31
know about this story, that interruption. That which had come to me,
40:37
which was a legacy of silence. Let' s say a story that had
40:44
been transmitted and those are the themes of this second documentary. Then someone tells
40:47
me good. Watching the documentary at Vance' s house, you' re
40:52
probably going to be interested in Mariet' s story, which is the protagonist
40:57
of the two- seater film, Marie Diaman. Yes, Mariet Diamand,
41:01
who has just a hidden story. She only at seventy years old began to
41:07
speak of her origin, also of her Jewish origin. They come from the
41:13
Second War, they become Catholicism, with the singularity that they never speak again
41:17
of that past of refugees, of persecuted Jews in the Second War, If
41:23
they did not escape, they deported them, they killed them and come to
41:30
Argentina with papers because they are converted to be able to come to Argentina and
41:36
they do not speak again about this subject of Judaism. They are already French
41:42
Catholics who actually originated from French Jews. They pass on to our French Catholics
41:46
and so they present themselves to society to belong. They have integrated what the
41:55
Argentine aristocracy would be at that time. That' s Majet' s story
42:02
that sounds like this second movie. Of course now, why Marie Diamante and
42:09
not another one that led you to make the decision that it was her,
42:14
that just this secret that she kept for so many decades and that, somehow,
42:23
has to do with your own family history. But why good mariet.
42:29
Marieta' s story is very particular. Yes, Marita' s story is
42:32
very particular, because she kept this secret for many years. I was really
42:42
interested in her story, but especially that she had already started talking about it.
42:46
She at the age of seventy meets a person called the Wootkowski Lend,
42:51
who invites her to meetings of French survivors. She recognizes her as an Argentine
43:00
French immigrant survivor, something Maria didn' t know about herself. Hence she
43:06
meets a group of Jewish people who came for that time, World War II.
43:12
So, good her. Finally, this resulted in a book, all
43:15
these meetings with these people and books with chapters of stories of each one.
43:21
One of those chapters is Marieta' s story and what interested me particularly in
43:23
mariet' s story is her story, but also why. Mary says it
43:30
in the book She couldn' t tell it in her circle. It was
43:34
so hard for the light to talk about this and for others to hear this.
43:40
She said in the book that people didn' t want her to talk.
43:45
So, well, today, you can' t even speak a story
43:49
that happened eighty years seen origins, origins of war, trauma, of Judaism,
43:55
because that' s what I think that' s what I wanted to
44:00
discover through the film that also spoke in some way, of the validity,
44:05
of the prejudices and of the estimation that it is appears in some film.
44:12
Yes, clearly, they appear very very very reflected, very emergent. So
44:16
close up, not good. Tomorrow, the documentary on identity, which closes
44:22
a trilogy started with Lea and Mira, is presented to the Dos mariet They
44:29
leave their mark and what you mentioned just in Van' s house c What
44:35
reflection you are looking for that leaves in the spectator the Dos Marieta this of
44:42
identity. You saw that it is a term that is identities, religious identity,
44:46
or gender identity or identity. I am discussing this terminology a little because
44:53
I do not think it is about the subject of her religious identity, which
45:00
she can already have in any case, I see it as something broader,
45:05
as a subject of why done it happens to her as in so many regions
45:15
of the world and with so many problems of prejudice, stigmatization and trauma,
45:22
also beyond the repressed peoples. That is, what happens to people when they
45:28
have to survive these traumas and how they do to face them and then how
45:35
they do to transmit them, how the succeeding generations find out, that they
45:40
carry that trauma on them, because even if there are no words, those
45:45
experiences are transmitted, they find themselves in their trained way of being upon us.
45:52
Well, the movie. I think he talks a lot about that,
45:57
that how we carry what our ancestors have experienced and is a history of migration,
46:04
is a history of Argentina. It is a history of the Second War,
46:08
probably of Judenism, also because this is also a good topic. We
46:15
strongly recommend meeting with the two mariet This documentary by Poli Martínez caplum since tomorrow
46:24
is exhibited in the Atlas Patio Burritz. It is the story of a silence,
46:30
of a drama, of a trauma, of meeting, of searching,
46:37
of looking for us and it is a testimony of the reconstruction of a buried
46:45
family memory. Thank you for joining us, Poli, a very big kiss.
46:51
Thank you very much to Julián. We' re still on GPS audio
46:55
- visual radio. That' s the story of my hole I' m
47:05
your impression permit. So, recently, the position of Manager was released and
47:07
I applied for it. The new one of resources. It' s years.
47:13
Looks like he' s going to make me mine for everyone there because
47:17
he' s the son of I don' t know who, because he
47:22
' s pretty, obviously daughter they were going to put him a lot of
47:23
fairness. Neither you nor I had a chance. We were not in the
47:25
eternal for the post. It' s no longer important for your husband to
47:31
be a brother who' s the most popular in the world. This is
47:36
a cut- off company and something I said. You have to be wrong.
47:42
Hang in there, you gotta dance. One looked like tris throwing at
47:51
us, another time they had land comba. You and I are gallows.
47:54
Not a rush to revolution like us. Don' t do anything. I
48:02
have a plan Brurito love or Brown. There are two types of extracting female
48:39
sissy Revolution will be the closing film of the cycle Argentine Directors, organized by
48:49
GPS Audiovisual and genre Dak in the cinema art Cacodelfia. Tuesday the 16th.
48:53
At 19 o' clock we are with Sabrina Farschi, director of Mariku Mujer
49:01
Revolución, its most recent release a documentary essay about the life of Mariquita Sanchez
49:08
de Thompson, starring Zoe Gotuso and Maira Bonard. Thank you for being with
49:14
us again, Sabrina, welcome. How are you hello, Julia, what
49:20
a joy Well Mariquita deals with the life of Mariquita Sanchez de Thompson through these
49:27
two protagonists that you chose that led you to raise the need to tell the
49:32
story. With this split of two actresses. Well it seemed to me that
49:42
Mariquita I, who lived many years, lived eighty- four years, something
49:47
very particular, especially a woman of the nineteenth century and then there were like
49:54
several mariquitas inside a different moments of her life and it seemed to me that
50:01
it was good to differentiate a first stage as more rebellious and another from her
50:08
adulthood. Then the young rebel incarnates her zego tuso that puts the voice,
50:19
especially in the time of her is when it is the anthem not. She
50:23
is part of the revolutionary women of 25 May and then Maira, who is
50:30
already in her adulthood and who puts the body. I mean. I liked
50:35
how to make that differentiation. And they' re two artists who say that
50:42
' s like their forts and what you were looking for in them. Let
50:46
' s say what different aspects they brought to you for the construction of these
50:55
versions of faggot. Well, first of all, I wasn' t looking
51:01
for anything that looked like them, because there aren' t many images of
51:06
Mariquita either, so first there' s a single aguerreotype of her when she
51:09
' s too old, but then there' s a lot of pictures and
51:13
in all of them it' s very different. It' s like they
51:15
' ve made a free version, so there' s no way to say
51:20
good is like that or that. But I was interested in how to show
51:25
that Mariquita is a contemporary woman, who is a woman who, beyond the
51:30
time she lived, is still very prevalent today. That' s why I
51:39
cared that it was, for example, good his own ego and leave her
51:44
with her current hair and that her tattoos are seen. Maira also has many
51:47
scenes where she works with physical performance and interacts with a video. There aren
51:55
' t those time crossings where. I think it brings a sense of telling
52:04
this that Mariquita is a woman who transcends her time now. And well,
52:09
speaking of Mariquita concretely, what attracted you to her, that she is a
52:16
protofeminist, that she is a woman of another century not, that is to
52:25
say, another century In reality, when I heard of her, she distanced
52:29
me a lot, that is not, But the truth that getting me into
52:37
her history and knowing her whole life, which is very well written in the
52:42
book of Mary Saes Quezada, that is where I said borrow women is from
52:47
today, that is, that I could corroborate that her struggles were mine today
52:54
or my companions, was to face life to her passion. I don'
52:59
t know your search bu surprised me so much. I was very surprised by
53:05
her freedom and how she didn' t keep the easy one, so she
53:13
was somehow the things she didn' t like. He tried to transform them
53:19
by putting the pen and the body all the exiles as well and a lot
53:28
of money and lots of goodbyes. Let' s say, I don'
53:34
t know, I felt very identified and this you discovered with the research or
53:44
also when you decided to give this form to the film, not with the
53:50
research, that is, it arises from the research. But what was very
53:51
curious is that when I started to investigate, I got together with researchers,
53:58
one of them, which is that they are ns in the documentary, and
54:05
I realized that there was like a group of ladybug worshipers, that is,
54:08
that it had not happened only to me, but that that astonishment and that
54:15
ligature that we had with the character, passed to him a lot of other
54:20
women who, especially women who had had contact with the story of María Sáez
54:24
Quesada, who later likewise appeared a lot of other research books about the history
54:30
of women. There are several studios where Mariquita is not the only one,
54:37
of course, but well, Mariquita is very emblematic. That' s why
54:44
she was also part of the women' s room. And what a conclusion
54:49
or legacy the film leaves. Well, first I' d tell you what
54:57
resonates most when viewers see her, this thing about how I didn' t
55:06
learn this before, how I liked this information, how Mariquita' s character
55:15
didn' t know so much more, that' s more than she was
55:19
the girl who lent the house to eventually sing the anthem, which is what
55:23
you really know. This is all and in reality, but that in a
55:28
class that is did so little and yet why you mention it to me,
55:34
for it is not so much not so it is yes, yes, yes
55:39
more at that time to sing a forbidden song as it really was, because
55:44
the hymn was actually the song that those who believed in freedom sang, because
55:50
until that moment we were part of the Kingdom of Spain. Then, yes,
55:57
it probably was very dangerous to sing the anthem in a private house.
56:04
It was very played, good to know much more. Then about Mariquita.
56:10
We invite you especially to the closing of the cycle Argentine directors, with the
56:19
screening on Tuesday sixteen at nineteen in cinema art Cacodelfia by Mariquita woman Revolution and
56:25
there will be Sabrina Farchi also to talk with the spectators. We thank you
56:35
very much to accompany us and with this projection we close the cycle of Argentine
56:44
directors, this stage of the cycle where filmmakers, producers and actresses and women
56:52
revolution like Sabrina Farchi herself give us their gaze of the world and leave their
57:00
mark within Argentine cinema at this moment, which needs today more than ever the
57:06
support of the spectators. That is why we are leaving until next Wednesday with
57:10
these three words, which are a statement of principle. See Argentine cinema until
57:17
next week and thank you for accompanying us with a big kiss Sabrina. Thank
57:22
you very much, thank you, thank you, this was GPS audio-
57:44
visual radio. We expect you next Wednesday at 19 hours by radio thirty or
57:55
thirty capi o