Latest / GPS Audiovisual / GPS Audiovisual T05 P23 -ENTREVISTAS VIRGINIA INNOCENTI, ANTONELLA FERRARI, MARÍA VICTORIA MENIS

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GPS Audiovisual T05 P23 -ENTREVISTAS VIRGINIA INNOCENTI, ANTONELLA FERRARI, MARÍA VICTORIA MENIS · GPS Audiovisual

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Audiovisual GPS Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, a treasure, a program with a gender
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perspective that nucleates the country' s film industry. Argentine cinema will never be
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the one it is until now. We, from audiovisual GPS, continue to
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strive for culture as a supporter of a society, a culture that is plural,
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free, accessible and has State resources for its development. Welcome to Audiovisual
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GPS Radio with the journalistic production of Norberto chap The driving of those who speak
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to them, Julia Montesoro and in the controls Gonzalo Sorais, Virginia Inochenti and
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Hernán Lucero join for the first time in a stage to present absurd wound.
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It is a tango show with a romantic history behind it, or it can
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also be seen as a love story with tango background. That' s what
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your protagonist will tell us. It is presented on Thursday 13th in the Torcuato
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tazo room. We' re with Virginia Inochenti and it' s a great
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pleasure to welcome you here at the Radio Virginia audio- visual GPS studios how
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you are. All right, Julia, thank you so much for the invitation.
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Well, it was like something we were in that we came up with
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obstacles going down a long time ago. It' s a good thing.
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That' s how life has been found in spaces of such cute friends.
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Yeah, exactly so good. Here she is. So, Virginia, you
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recreate the story of Tita Merello. There' s a point in your career
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where you' re not an actress. You' re just an actress who
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sings. You' re not just a singer, either. In any case,
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you' re a singer, an actress who plays the song. Also
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not you in what locker you put when they ask you profession, somewhere,
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what you put artist, artist. And this transformation of yours when it began.
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It is that there is no transformation in reality, because I say that
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I have been swimming the waters of artistic manifestations since very small. I remember
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myself on stage, since I' m four or five years old singing,
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dancing, acting, it' s never been silent. Let' s say
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the expressive modes and I consider that every interpreter the more he decides to develop
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in the different areas, the more he has those gifts to entertain is better.
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It' s not beautiful to see and listen to tita merello you were
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naming her also one of the. In reality, almost all the artists of
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the past were very complete, i e, everyone knew how to sing because
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they basically came from the theater or the live performances. No, then you
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have to have an instrument as more tuned to get on the boards and catch
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attention and tell a story that fascinates people. Well, I thought I was
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listening to you about this absurd wound they' re presenting right now. I
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say cinema that background of which you speak your artistic trajectory. Maybe it wouldn
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' t be possible. Not me of you doing more than singing. Sure,
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it' s not a recital, it' s a love story.
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Sure, it' s actually one. I like to say that it is
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like a concert performed or a concert that has a staging and there is a
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dramaturgy, because we are telling a story of these two singers who are known
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in a tribute to Carlos Gardel making the scene of the day that you want
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me, that is, that it has a little to do with cinema.
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We say that it is a kind of musical cocktail with tint to the variano
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mode, so that people have a network a little more current, because if
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you speak to them of the Argentine cinema, of the time of Tita or
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of this yes freedom to love well, yes, they do not have much
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reference to the younger ones. You saw, but you tell them Almodóvar and
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since it' s in a melodramatic tone, we walk that rope. That
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' s why a little bit of aesthetics and because Almodóvar has also recovered the
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yes, the melodrama and these wounds of love that are quite absurd, more
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than the wounds, the situations that are given by the encounters and the love
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disagreements that you wear in the distance. A little good, that' s
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where the absurd comes in. No yes, they are really very absurd of
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the situations that are usually given away. You can laugh at that and tell
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a story, but when you' re swimming those questions, it gets very
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Áspero and the tangos we sing, some wonderful thongs, are all classic,
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except two songs. One is by HernánÁl Lucero, who is the male
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singer of this story, the singer of tango, a typical tango singer with
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all those of the law, which is called the theme My Blue Night,
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which is a precise song that he made with Pedro Mairal, and the other
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tango, which is not a classic is a tango of mine, is a
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yes, a milonga actually called the well paid, that I did it with
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the composer Claudia Levi, that the lyrics is mine, but after this listen
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nostalgia, the dizzy rubí the day that you want me the last curda poster
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i e, that the tone is the variable way, as you like to
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define in voice and that would give you the current touch. But also in
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the choice of repertoire I do not say one that we all know in general.
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Yeah, well, you saw that the modor also recovered a lot from
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the Latin American song and its good, romantics. Yes, the chavela is
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the tango itself, the caetano. Well, some artists that appear in their
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movies that are a delight and it' s also for this, so that
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people understand a little bit of the color, the color that it has.
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But it is a tango show that, although they are from the last century,
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the majority, except ours, the two of us, have a look
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from today in us interpret them. I consider this to be a tango show
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of the 21st century, again tango, even though we do the classical tangos
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from the place that we approach them from the versions that we are being.
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We are on stage with a music that is a delight to work with him,
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which is this Leandro Pitu Marquesano, which good is like climbing a magic
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carpet, his way of accompanying this breath, this great breath, which is
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the spectacle in all its becoming and which has many peaks of different emotional states,
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because well, they know each other. She falls in love because he
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sings to her with a lot of sweetness and nothing falls in love with her
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and it' s been dishes. Of course it' s the rooster.
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He is a typical, equestrian and good, once he has it with him
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again he comes out of like every good hunting wolf and until he gets tired
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and then he' s going to ask him the dates at the bar that
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they met. All this is counting on the songs. There are a couple
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of poems and very brief texts. It' s a little story we'
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re counting on. It' s a little mountain through the people, because
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yes, all this coming comes with reproaches, with grudges, then attempts to
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hold her back she looks like she' s going to give up again to
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good. I don' t tell you the end, of course, don
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' t spoil us cheleto at the end, of course, but we'
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re very happy, very happy. What was the origin of you are this
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absurd wound. It is actually called absurd wound, classical tangos and other things.
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That' s the whole title. Good, because, well, those
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other little things are all these little things I' ve been telling you.
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No and the classic tangos too, of course it' s all that absurd
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wound. And the origin was that I had a lot of desire for myself
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years ago that I came to do this kind of shows that I would put
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them as more in the field of coffee concert. Not if there is a
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recovery, yes that genre, yes in which you do not sing for singing,
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but because the songs are at the service of a story and, in
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general, the café concert has a critical look at the reality or about that
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which you are narrating. And a little bit of that look has to do
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with that, for example, there are many tangos that I interpret that are
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originally tangos composed by men and sung by men towards the women who have always
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done something bad to them. The tango, besides being male is victimized very
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much the machirulos. Not then a little bit. The wink has to do
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with that those tangos I appropriate and sing them in a feminine voice and I
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sing them to Hernán Carnal Lucero, who is my teammate on stage and you
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give him a re- signification in everything. And it' s strong to
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hear, for example, poster. It' s strong to listen to a
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woman telling the gentleman in question. I gave you a home. I was
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always poor, but I gave you a home. I' ve worn out
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the smiles of fighting for you, bleeding for you, and I also sing
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good, in addition to the well paid that' s my theme that'
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s on YouTube. You can find it another time, too. I sing
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to him what his name is sodo the unscathed fans saw him leaving the cabaret
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that morning. That tremendous song we had to listen to. I love Jepolo
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and I understand from where he composed it. No, but it' s
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very strong. This is always being criticized. Well, my song is called
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the well paid. A little bit for this song of the well paid to
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pay well paid you were a woman and it actually speaks of a man who
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has been like this a sort of yes of living in the cabillo. Of
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course, yes, not getting to that term, because the cabillo was the
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one that made us say that he lived from his wife or the women who
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regented. That' s not true. Yeah, I mean, they kept
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going, they took the money from what they earned. Yeah, I think
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that' s the coffee. Yeah, yeah, looks like the lunfardo would
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be getting closer to the fiolo, but I don' t even know how
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capable we' re talking about the same thing. Be good, yes,
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then live now he put me a terrain that, of course, I do
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not master much, but well it is clearly understood and I was just going
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to ask you what attraction they exert on you, these tangos written and interpreted
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by men, what it is that you like to turn the story on anotherpe
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a beauty. When I sing a poster and when I say I gave you
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a home, I always went for this one, but my heart breaks.
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I mean, we make tangos that are an infinite beauty, that is,
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they have a poetry and a way of telling what they tell and that,
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well and also to Mr Este surely happened to this that happened to him.
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What I find a little striking at times is that the imbalance, that is
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the balance now, not so much, because there are many female composers who
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make, that is, women who make incredible thongs and also thongs. I
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have composers friends who do already talk about other things, talk about other things.
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They' re more deconstructed, of course, but these classics are a
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delight to sing them and listen to them and listen to me. Actually,
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I really like how they sing and I really wanted him to sing me close
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there to send him all this. That' s what the truth is for,
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the excuse. It was that time and also like this I told you
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before, I' ve been doing these stories for many years, with all
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these stories, with songs, but I was doing it alone, that is,
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not alone, because I was always with musicians in scenes, yes,
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but I was the only protagonist and in the case of me they said the
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show about you also in black water. She was also this woman who was
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alone and who was also singing there classics of the sixties, of the seventies
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a few boleros, some things that I like to mess with the known songs
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and reverse them and run them a little of the usual listening, just so
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that you can hear what the song says the lyrics and this time I wanted
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to share scene and that he supposedly that the man who was not present on
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stage, but was present through the pain that had caused this protagonist. I
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wanted him to be on the scene this time and to see the conflict,
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to be present. So I finish exorcising and something else happened and they deconstruct,
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and cheese that deconstructs a little bit good. So let' s remember,
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let' s not count much more than Virginia in eighty and she'
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s with us today. It is a luxury that we are giving ourselves to
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have here in the studio of audiovisual GPS Radio then presents on the 13th of
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Thursday, 13th of June, in the bowl, in the torcuato tazo,
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which is a very beautiful place, that remains in front of the park loves
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them in the street defense. Oh, I don' t remember, the
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height, no, but it' s in front of you very recognizable.
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In addition to that which makes them yes it is like the temple of the
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Argentine song. Not exactly the beauty. Being there I started singing live or
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at the wine club. Of course it' s a place we miss the
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clear Salaistas so much. This good is a space that somehow one feels has
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that imprint. If you have that printing press, contense, it' s
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been remodeled. The sound of the latest generation is very beautiful what they have
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put and well, they open doors at 20 hours, because the tickets are
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already for sale. In the other function there are people who stayed outside,
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fell asleep and stayed out careful until we put this function precisely because so that
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they can come to see us, the prices of the tickets are accessible,
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because we just want that they can come to see us. To be clear,
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they have no obligation to consume, but if they want, they can
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eat deliciously. This is set with a few small tables and good chairs very
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comfortable. It' s all very pitiful. Baby is very tempting and listen
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to Virginia inochent and then in this show with very tight thongs, Virginia,
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thank you so much for accompanying us to you. We' re still on
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GPS and audio- visual Radio B I' ve got a p- hello
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silvio la paula even with you. He didn' t call you anything,
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not because he went to the doctor' s in the morning and didn'
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t call me. He didn' t come back. No, I don
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' t know anything. And weird your sister, where you are, I
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don' t know. I called the police. Yeah, I went to
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the 18th report, but they didn' t take it from me. I
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was told more likely to have helped with the boyfriend that he told you he
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still has his clothes on to school and the police. What did you do
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with all this? I saw it the way took, because already life went
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out or touched it are the Invisible law with Leonora Wexler, Vanesa González and
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Antonela Ferrari, a film by Guillermo Navarro with production of Rio Films, premiere
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only in Salas. Antonela Ferrari is, along with Leonora Wexler and Vanessa González,
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one of the three female protagonists of Invisible Stories. The thriller directed by
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Guillermo Navarro that opens in Salas tomorrow Thursday. Six Invisible Stories is inspired by
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real facts and deals with the case of human trafficking, the obstacles of justice
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and the despair of a mother to find her daughter. We' re with
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Antonela Fer and who' s working in the United States right now. Thank
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you for joining us, Santo Len welcome Jepse auditor to the radio. Well,
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nice to meet you, so nice to be here for me just as
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good. You can' t accompany tomorrow' s premiere, but you could
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see invisible stories. I saw her a little earlier than everyone else. I,
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when I was on the shoot, had already seen almost the whole fight
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in parts. I really like to see when we' re recording how it
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looks, because it gives me an idea of what I' m doing,
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which can be corrected. There are times when I, who work a lot
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with emotions as they are direct, think that what I am feeling and that
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looks good, because it does not reflect. So I like to see that
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as if to go polishing but seeing it whole was amazing. It is very
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different and to be able the work of the rest of the comrades and the
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work of Leonora, that I had not seen with the honor I saw I
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think we have lunch once more in all the time. So that was really
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nice, practically clear. Well, what do you tell invisible stories? Well,
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it' s a movie like you said, that touches on the subject
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of human trafficking. I think in a very special and very nice way.
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On the one hand, it is in the story of Honora, who is
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of a mother that her daughter is kidnapped and that she already goes out to
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fight and look for her, as there are so many mothers who go out
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to look and fight for their daughters. Then there we have as next to
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the struggle of not surrendering, of helping anyone on the road as already,
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once you see what happens, does not go back, closes our eyes.
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And, on the other hand, there' s my character who follows,
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who' s a girl who' s in school, who falls in love
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with a guy and this guy shows him. I think that as it happens
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to all of us in high school, you don' t know someone who
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shows you this new world, whether it' s drugs, alcohol, you
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went out for some people of music, a band I say I think it
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happens to all of us just for Cecilia, well it happens with a shock
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is very dangerous, which is the one that then will deliver it to this
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world of trafficking, which is a very common way of supernoig also and from
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there follows the story of Cecilia, which is also a character who decides that
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it won' t stay there and that that' s not going to be
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his destiny and from the moment one is always saying. I' m gonna
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go. One day I' m going to leave and see how the tenacity
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of these two people in supposed poles. But in the same story and how
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they are solving the things that are happening to them. Well, your role
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poses a huge challenge to her, because Camás has been a teenager, cecilia
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raped by a couple of proccionetas who, well, painfully introduce her into the
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underworld of prostitution. Why you' re interested in addressing that role. When
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I took the proposal, I liked a lot of script, I liked how
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the story was told. I was very struck by the attention that guille managed
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to count guillas. The director of the film then a grab. He tells
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the story in a way that is not just dramatic, in which these people
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can also have their day to day, then they are humanized. She'
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s not just a slave who' s making a prostitute, but she'
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s someone who listens to music, has her dream, has her romances,
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all that, I think she' s humanity, not just Cecilia, but
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the rest of the characters. It' s also a role that I'
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ve played quite a bit in my career, because I seem a little smaller
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than I am then, that I' m very young. It' s
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a role I have left. I don' t know if it' s
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easy, because it' s easy, it' s not, but it
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fits me because well I look younger, so you can use someone of age
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with an awareness of an emotional elasticity that allows you to enter a character.
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Yeah, sure, sure, yeah? What was the preparation of this character?
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With what tools, with what testimonies did you count to tackle hell?
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The truth is, it was hell. I, when I had been in
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the marginal, that was a similar situation or that also has to do with
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prostitution, had done research not only of the trafficking of person, but of
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what the world implies, prostitution, because you can' t talk about trafficking
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without talking about how we legislate in Argentina on the subject of prostitution, how
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the positions there are with girls to love, with girls who are abolitionists,
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the consequences bring you every position. I, at the time had approached to
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talk to the girls to love to say well, to see what you have
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to say how you are living in the day to day. There are also
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testimonies, there are trafficking girls and then there are many testimonies. There are
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a couple of documentaries in Argentina about trafficking. The hard thing in this case
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is that there is a limit to how to act where it can lead,
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because they are people who go through situations that are so extreme that the mind
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of a human that there is a daily life. You can' t imagine
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what it is. It' s very common for some people who go through
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this, some who go in, to be psychologically tortured, too, scaring
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them. Or I remember at one point giving her a testimony about a girl
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who had her witnessed satanic rituals. Then there is a whole question where it
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is so much horror that I had to study and stop, Study and stop,
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because it is very strong And, on the other hand, when we
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were in the shooting, it was a reality, that is we recorded in
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Mendoza in a place that was quite far away, near where bricks are built
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that, well they are lands of not saying it itself, but there are
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many hectares and I am a village is camped, very isolated and trafficking in
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people. That' s what' s going on. I' m not
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going to do it every day, but practically then it was like this good
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thing I want to get away from, but reality puts it back in front
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of me and in fact, they found kidnapped girls. While we were recording
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one block away the other where I was staying. So that was interesting,
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of course, and, at the same time, a very big emotional effort.
30:44
Not because horrible, I mean, it was really horrible. And if
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for me that horrible, it' s a bit of a bit of sand
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from being seconds into an emotion in real life is even worse. There are
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things that I too had to start lowering it a little bit my level of
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playing that is real. I like authors of that place a lot and in
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a couple of scenes that has more to do with rape or more extreme things.
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I said well we just pretend that this is not because it was crying
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and crying and getting to the hotelillorar and waking up to cry is an effort
31:22
and how was the work with the director, with Guillermo Navarro, How could
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you boost your work or good or achieve this graduation that you were talking about,
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just graduation of emotions. I mean good. Guillé was from the moment
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one with us, with all, very much in each part of the process
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then, at the time of reaching the set they were easier. There are
31:53
also directors who see them only one on set. There we saw it before,
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we saw it out of being too then he was in the whole process
32:04
recording back then, as I said, the place also puts you in a
32:07
different situation. So we were all on a collective question of empathy, because
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it' s not or Guillén, it' s not guille is the rest
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of the team that chooses him with whom he decides to work, because I
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also help a lot when you' re accompanied by make- up artists,
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costumers, sounders, especially one for me that makes me wear little clothes,
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be exposed to being cold. It' s not just the emotional, but
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it' s a whole team of people looking out for you and I think
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Guillén. That' s very professional and sometimes it' s very attentive to
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how we and I were and had rehearsed, you' d had previous conversations
32:53
with him about this character and the way you were going to have to deal
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with it. Yeah, we didn' t rehearse so much if it was
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something very chatty, especially the character transition, because it' s been a
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long time, which helped me a lot and she was very present, I
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mean, it was with me the hair. I started with brown hair,
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as I have it now and two weeks after going into the shoot, I
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dyed it all blond, which took about thirteen hours at the hairdresser. Then
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I already see myself different from feeling the impact of losing my identity, which
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is what happens to these girls who enter and lose their identity in this way
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or walk them the man, the document, etcetera, and she was very
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present in those processes. Then it was like an accompaniment. Well, practical
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helps a lot in this case now Yeah, sorry, no, that doesn
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' t help a lot. Of course, the filming took place in Mendoza
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and was traversed by the pandemic. Also, not this how the circumstance of
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filming was. So and under these conditions, because that too must have played
34:15
its part. He didn' t play 100%. It' s again.
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Practically, it' s much more laborious. The stay you have to
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have with everyone in being with I don' t know every day. It
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' s hard to keep a certain distance, because they' re your family.
34:31
Then you have to go do the covid tests and use the barbejo et
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cetera. But at the same time we all want to work and be together
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and we are isolated in this bubble that were the sets at that time,
34:45
that made us enjoy it more, I think, and let' s say
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what we are all going to give, because we were all so long without
34:52
working and without seeing each other and without relating, that it made it taste
35:00
different than more than what and maybe clear, of course it would flow in
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another way. No yes, it' s true one now from a distance.
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That aspect is not so much evaluated by him, but finding it was,
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but at that time it was almost a rarity to be able to be
35:22
with more good people and protocols. Not also and to speak I imagine that
35:27
for actors, technicians, actresses is also an important challenge now. Guillermo Navarro
35:35
told us in this same space, in the previous program, that he intended
35:40
that invisible stories would serve to raise your awareness. You think that cinema can
35:49
absolutely fulfill that function. It' s a big part of his role.
35:58
I think the Otero world and Argentina, being part of that cosmo of stories,
36:05
have a lot of stories to tell, lots of perspectives and bits that
36:15
make the puzzle of everything. And I think this movie is good for that,
36:19
because not only does it show trafficking as a lot of error how bad
36:22
all this is, but it shows the client, it shows the guy who
36:28
works there, but it happened in his life, because he also comes a
36:31
situation of abuse. A lot of perspectives in a single movie. Yes,
36:36
one cannot empathize, and I think it is also an issue that should be
36:43
dealt with even more, because it is a reality that can happen to all
36:46
of us. It' s not obviously the ones that the more isolated,
36:52
the more vulnerable to your situation, economically, the easier or make it end
36:57
up in this situation, but it can happen to any one. Yes,
37:00
and unfortunately, it' s more common than we think, much more common.
37:07
That' s why I was telling you that when we were recording,
37:12
three girls appeared one block from the hotel and we weren' t staying in
37:16
a four- star hotel, in two or five stars like downtown and two
37:22
blocks away there were striped girls. And it' s a complex issue,
37:27
because there' s a lot of people involved. So it' s awkward
37:30
to talk about it and I think this movie gets the focus on the kidnapped
37:36
girls and the fighting moms and dads. Something we were asked a lot about
37:40
is whether this story was the story of Marita brom and I think she,
37:45
in the beginning, obviously caught his attention in this story, but what he
37:49
told me when we started recording, or even before the pandemic, before when
37:52
this project was starting, he told me I wanted to make that movie.
37:58
And then I realized how many people there were that didn' t have the
38:00
voice, but had the decibilization of these mothers that don' t stop.
38:07
Yeah, I think on top of the role of the mother doing justice.
38:09
In Argentina she has a grandmother in the Plaza de Mayo, mothers for the
38:14
Paco, etcetera. There are many mom organizations present and I think it manages
38:20
to show that and I would love that it has that effect that more girls
38:27
and more people say" che Ojo" with this happening everywhere. Look at
38:34
this is about the subject, it' s not true, this can'
38:39
t happen. And to danger also because I think that with the case of
38:45
Cecilia and or Cecilia in character she is in love and who doesn' t
38:51
fall in love, then I think that there is one maybe a preconception of
38:55
how it happens to the poor or happens to the other. It happens to
38:57
these hives, who are half dumb, who fell because well, they were
39:01
half poor boites. And I think that speech has to change We all could
39:07
happen because we all fall in love, or we all fall in love with
39:13
someone or something or an idea, and our visibility was overturned by that and
39:20
deception is a very common operating mode in this system, whether it' s
39:25
for prostitution or for white tata on a sexual level or for forced labor,
39:30
which there is also a lot in Argentina. Yeah, gender- based violence.
39:35
In short, the many variants of gender- based violence against women.
39:42
Not good, Antonella Ferrari, a taste this talk co protagonist of Invisible Stories,
39:52
that a thriller of Guillermo Navarro with production of Rio Films that opens tomorrow
39:57
in theaters. This is very important. Also not very important to get to
40:04
the rooms exactly good. Thank you so much for joining us and congratulating us
40:10
on your work in Invisible Stories. Thank you very much for sharing and now
40:15
André this project. We' re moving forward on GPS audio- visual radio.
40:24
People have present, ugly tango, very present. Well, actually,
40:28
we' re doing this documentary. No yes, I had heard the story
40:35
of tanquito told over the years a thousand times and I told myself and now
40:37
that I have to make my film and see if I want to be an
40:42
astronaut or if we really were all new. That made us not thinking if
40:47
the movie was going to be a success or not. Headline freak it was.
40:53
No. I never imagined it, but love for what we were told
41:00
a lot about the time was. They left the cave at night and came
41:05
at dawn. Then we decided to do the same ritual and painted a gin
41:09
and we all farted, but folded, folded plates or Aldo dishes I like.
41:19
I think it would be fair for us to discuss the technical details after
41:22
the payment, and the hairs that the light sun had. I didn'
41:25
t have a big stake in it, but I' ve been messing around
41:28
all day. I work I never got up here again That' s nice.
41:39
I can talk all my life about Roque, a movie I loved.
41:46
I want to tell myself something about not being old again. Legend Feroz,
41:54
the documentary that revives Tango Feroz, a film by Dennis Surfeke and Mariano Frigerio.
42:01
Legend Feroz premiere in halls all over the country Hello. Paulito I'
42:15
m look if you remember me it occurred to me as a giant idea,
42:20
which is to put the band together look Anda. Please, I think you
42:22
should apologize for that authority. So you' re really talking about it and
42:27
after passing you saw how they are here. But you heard what those bully
42:30
girls said A Chinese man said rat if your husband, who wants a 13
42:35
- year- old chick while they' re stalking, to take pictures so
42:37
he can have proof, so he can stay calm. Why did you stop
42:42
singing? I don' t know things about life. I know Creo Miranda
43:00
from Friday to Monday, a film by Maria Victoria Mennis starring Inés Esteves club
43:07
premieres. On Thursday 13th Miranda opens from Friday to Monday, the new film
43:19
with direction and script by María Victoria Menís. Miranda is Cines Esteves, a
43:25
professor of literature who at one weekend radically changes her life following the new generations
43:34
who started the fight for equity. We' re with Maria Victoria Menez here
43:42
at the Radio audio- visual GPS studios. Welcome and thank you so much
43:45
for joining us. Maria Victoria being with you that I' ve known you
43:50
so many years, a long time you must be one of the first people
43:57
to write about movies of mine. Well, don' t say how long
44:02
it' s not, but it' s true. She' s a
44:07
great friend, Maria Victoria, and now it' s a pleasure to be
44:13
here, to be here and to have a new movie. Yes, with
44:15
Miranda from Friday to Monday that will be sealed on Thursday, June 13.
44:19
Aha well, yes, to accompany the process of growth of your children was
44:27
somehow to collaborate in the construction of this story that Miranda tells, from Friday
44:32
to Monday and always, always the case of me, that I have four
44:39
children, always the upbringing and the follow- up of the boys and have
44:45
them and what I know gives you, give you ideas, give you situations.
44:49
Miranda has two daughters, one of nineteen and one of twenty of twenty
44:53
And well, there are things that the daughters have that belong to my sons
45:00
And yes, yes, now this is a script that was born when she
45:07
looks. This script was born around me and I started to think about it,
45:13
about the two thousand seventeen, having gone through them for quite effervescent years,
45:21
like the two thousand fifteen, two thousand sixteen, of one or one
45:25
less marches this and the other, and well, I came up with the
45:30
idea of how we were falling to generations that are bigger, that we have
45:36
also experienced situations of feminism or claims and that I, but suddenly, joined
45:42
many young people, many young people that interested me that these young people showed
45:45
how they influenced, influence our way of seeing things, you also saw yes,
45:53
absolutely yes, well, I was going to ask you just without the
46:00
one or one less by themselves, Miranda, this story would have existed.
46:07
No. No, because no, because no, because it seems to me
46:14
that women, although there had already been great feminist and equality struggles and that
46:20
I know that ball, especially that it was formed in the two thousand fifteen,
46:25
had something different, that was how young girls, like the poor even
46:34
brought their grandmothers, their mothers and how even women who had a fairly advanced
46:43
concept, we suddenly believed that we naturalized things that were not so nature,
46:52
so to accept. And many of these young girls made us see that.
47:00
Yeah. Yeah, so there' s a little Germen there? Is there
47:06
a little Germen there? Yeah? Yeah? Yeah? Yeah? Yeah?
47:07
Yeah? Yeah? To me there is a dialogue in the film that I
47:14
find quite clear in that sense, that is Miranda this one who sees that
47:22
her daughter has a boyfriend with whom she gets along very well and the girl
47:25
is thinking about taking a trip and she tells her. Miranda tells her and
47:30
how you' re gonna do with your boyfriend, and the daughter tells Mom,
47:37
she' s not the man of my life. I don' t
47:39
know He' s not the only man who was gonna go through my life
47:43
and how. Suddenly, I imagined when I was that old and good the
47:49
romance with a guy and that made you think good travel, what I do,
47:53
marriage, marriage, I don' t leave two years, how is
48:00
Girl I mean, and now you saw everything. It changed a lot,
48:06
it changed a lot, a lot, a lot. Now inés this is
48:09
Miranda and the character has a lot of her. You wrote it thinking of
48:16
this one. No. No, no, I didn' t write it
48:20
thinking of East Ines. What I did know because I was interested in was
48:23
that Miranda' s character sang, had to sing. So this one I
48:30
thought of some actresses who sang either, that is to say with the type
48:36
of age and everything, and I was at it when a beautiful friend,
48:43
very close to her, rough mónica who is also a friend of mine who
48:46
is a film dressmaker, very well- known, very good, mónica kiss.
48:52
This one tells me, but why don' t you call Inés.
48:54
Ines acts like a fucking mother, acts like a bad bitch. Ines sings
49:00
well, sings very well. Yeah, well, we got together. I
49:07
went to see Inés, we got together I heard her sing. I loved
49:12
the way he acts. I knew he was doing well, but we know
49:15
very few people can doubt that. And there we really started to realize that
49:22
the script had certain similarities with some things in her life. No. For
49:28
example, Miranda has two daughters, one with a neurodiversity theme and Inés also
49:34
has daughters with neurodiversity themes. Inés began singing at the age of fifty to
49:46
sing professionally. I mean, he went back to something he liked a lot,
49:50
but he had never developed or loaded, he had postponed, and this
49:53
movie talked a little bit about that breakdown that sometimes occurs in middle- aged
49:59
people. A little more than what I' m doing is good. I
50:04
' m interested in following what I' m doing in this way, or
50:08
I can change and it seems to me I' m in that very positive
50:14
sense and I think that everyone can rethink themselves and suddenly, if we'
50:17
re not happy, then try to make changes in our lives. Well,
50:21
I thought your previous movie Misteria with the cinema, Seria in the cinema almost
50:31
said well, I just thought that in that movie because there you said that
50:39
well, you are, that it doesn' t go everything, no longer
50:43
endure or more guato, no, I can take more, yes, because
50:46
and then what was the good news for ball, to redirect and good and
50:51
paste. A volantazo is not a vision, it' s an o,
50:55
cinema is a vice, it' s a bug that stings you and it
50:59
' s hard to get you out and I don' t know I started
51:07
thinking and I can think of it if suddenly I say this can serve for
51:09
a script. The pandemic came, the pandemic. I also started thinking about
51:13
it before the pandemic. The pandemic helped me to refine the script. I
51:19
was joined by a producer who pulls a lot forward, who is Maxi du
51:24
Wow, who you interviewed the other day, room fifteen twenty and well,
51:30
we started moving the project. And well, like every project, it takes
51:34
time, but this pandemic thing made it longer. But, well, I
51:39
also accepted some of the cinema. Not because I, in this mystery,
51:45
in the cinema, said that cinema seemed like a trade of other times,
51:50
because you have to spend three four years, at least in Argentinas, you
51:54
have to dedicate it. And today, it' s all so instant,
51:59
who dedicates four years to it. Well, he' s a writer like
52:02
that. But I watched my son, for example, Esteban do this series
52:07
and stuff, and while he had already made four series, I kept seeing
52:12
where to look for the money from those movies. So I said well,
52:17
this for another time, it' s not for, it' s not
52:22
for now. But then I realized I was accepting it and I said good.
52:25
It will be so, that there are things that one time has to
52:30
measure in another way, which is what you wanted to do. Is that
52:34
what you wanted to do? It' s doing what I want to do
52:37
now. A certain sense said Lik. It' s getting hard. It
52:42
' s hard because you' ve changed a lot of cinema concepts. The
52:46
platforms came, came in the pandemic, the entrances, the entrances are in
52:55
an expensive economic moment to go. But just like the truth I' m
53:02
telling you, I think the experience of being in the movies is still unique.
53:07
Yeah, you can' t replace it with silver movies Look, I
53:13
watch movies or series, but I go to the movies. It' s
53:17
like, well, I' m going out another way. I' m
53:20
going out another way. It' s like all the senses focused on that
53:23
magical moment in your house. You' re home. You' re gonna
53:29
see it coming, yeah, you' re interrupting me already You' re
53:35
gonna chike the messages that' s another story? Is it another story?
53:35
Yeah, other than movies, they' re made with all the technology to
53:39
spend in theaters. Of course you have five or six speakers that are yes,
53:45
yes, yes? Is another one designed for that? Are you thinking
53:47
about that? Yes, for just the experience, as we say now,
53:54
of cinema in theaters and in community. Well, just with Miranda from Friday
54:00
to Monday. Miranda' s debut from Friday to Monday was in the framework
54:07
of the festival The Woman and the Yes, i e, that was the
54:10
first time it was exhibited in public halls. And that' s where you
54:15
found out. There, well, I discovered one thing that looks like a
54:20
joke, because you never know how the movie can fall. I didn'
54:24
t find out how people were excited to be laughed came out as very happy
54:31
to see the movie. There was like a climate, like satisfaction with history
54:37
and that a lot of people told me. I got really excited, I
54:43
laughed, I loved seeing the parents, I loved seeing the daughters what happened
54:49
to her. How nice of you to sing Ines this one, how nice
54:52
of you to be in that one. I found myself pleasantly because it'
54:58
s a relief, a very good reception. Yeah, I know it was
55:02
like that. I was in that function and everyone really applauded, liked the
55:07
story a lot and how it was told. Because it also has even musical
55:14
touches That' s another play of yours It does go beyond the character'
55:22
s inés estego. You know that I was always fascinated, I was always
55:27
fascinated by music movies and movies that have good music or are musical. I
55:34
remember seeing you see Melody, which is like an icon that fascinated me at
55:39
the time. There are no musicals. Musicals also didn' t, and
55:46
well it appeared to me like this movie in Miranda' s story, there
55:51
had to be a story that was guarding inside her and that came out.
55:54
And that has to do with music. That' s why I wanted to
56:00
find you an actress who would sing, not bend it. It didn'
56:04
t seem clear to me that he really sang and good at it he does
56:10
magnificently and that, especially topics of Argentine rockers be this carballo and will hoist
56:19
his Fabi sing. The music was also made by Loli Molina, who is
56:23
also a singer. It' s a very good music and it really seems
56:29
to me that the film goes along all the time. The music goes well
56:31
with the film. I like it, I like the way that 16-
56:37
year- old band that' s always been in Miranda' s life somehow.
56:44
Yes, exactly now. Another aspect is that the film approaches the language
56:52
of young people, of teenagers. In that sense there is Miranda' s
56:59
experience as the mother of two teenage daughters. I know the axis of the
57:02
story, not clear, yes, but there' s also a move from
57:07
you to look for that other audience. Yeah. It seems to me that,
57:10
in other words, the adolescent audience is an audience that follows the cinema.
57:15
Maybe the movies, the great productions of villainic superheroes, aren' t
57:22
going to go. That' s the other thing, that' s all
57:25
very targeted at people cover and people eat. Come with me, come with
57:29
me. So, okay. It seemed to me that it might be interesting
57:37
to make a movie, that it had music, that it had rhythm,
57:40
that it had a rhythm somehow. I' m gonna tell you a little
57:45
bit smooth. Not that, no, no, because I can' t
57:50
have a movie or I can' t make a slower movie in its development
57:54
that makes it and I like it, but here I wanted something like I
57:59
was like a more jumping guy. Well, then, starting next Thursday.
58:06
Thursday yes in rooms or in rooms of Buenos Aires, in rooms of province
58:12
of Buenos Aires and in rooms of the interior. Aha Miranda from Friday to
58:17
Monday this film by Maria Victoria Mens, starring Inés Esteves that we strongly recommend
58:25
go to see in the cinema is ok Te. I' m going to
58:29
clarify one thing because sometimes people who are leaving already people don' t unite.
58:32
I led the Dark Chamber, because a lot of people tell me no,
58:36
but I go to the Dark Chamber. The sweet Mary and the Rania.
58:39
I directed several movies from my seventh film, a lot of movies one
58:45
day we' ll talk about that too. Good with Maria Victoria mens here
58:49
at the studio of Radio Trentopic. We said goodbye then until next Wednesday.
58:54
We thank you for coming with us and well, as we say yes,
59:00
but today more than ever you see Argentine cinema until next week and thanks this
59:20
was GPS audiovisual Radio. We' ll be waiting for you next Wednesday at
59:31
19 o' clock by radio, thirty- three capi.