Latest / GPS Audiovisual / GPS Audiovisual T05 P18 - Entrevistas FRANCA GONZÁLEZ, EDUARDO PINTO, FEDERICO LUIS, ALEJANDRA MARANO

Transcript

GPS Audiovisual T05 P18 - Entrevistas FRANCA GONZÁLEZ, EDUARDO PINTO, FEDERICO LUIS, ALEJANDRA MARANO · GPS Audiovisual

0:03
PS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
0:11
In Julia Montesoro Oro' s view, a program with a gender perspective that
0:16
nucleates the country' s film industry, Argentine cinema will never be the one
0:38
it is until now. We, from GPS Audiovisual we fight, we ask,
0:48
support an Argentine cinema that can count on resources from the State for its
0:55
development, for a culture that can count on the support of the sound for
1:02
its development, for the benefit of the sector, but also of the whole
1:06
country. Welcome to GPS Audiovisual Radio, with the journalistic production of Norberto chap
1:12
and the driving of Julia Montesoro speaking to them at the age of ninety-
1:19
two. The sculptor Leo Vinci has several outstanding dreams. One of them is
1:27
to attack the marble block that awaits you in the courtyard of your house.
1:34
He wants to face him face to face like a juice fighter. Franca González
1:41
collects some of those outstanding dreams of the sculptor to reflect it in his documentary
1:49
Vinci body to body, which was presented in the Vaffisi with very good repercussion,
1:55
and is presented on Friday three at 18 in the framework of the Festival
2:00
of Women and Cinema and from Sunday five every Sunday at nineteen in cinema art
2:06
Cacodelfia. Welcome, very welcome. Thank you so much for being here.
2:12
Franca, how nice Julia to come and chat with you Here' s a
2:16
good thing, a little film, a little film and a little bit of
2:21
this new experience. Vinton Pa Peli, why a sculptor, why Vinci looks
2:25
at me I love filming the action of manual labor. That' s what
2:37
I' ve become aware of. I have been reminded that in several of
2:39
my films since Liniers, the treatment of things or all that almost sculptural work
2:46
on the ice at the end of the world, there is some of that
2:52
repetitive exercise in search of something creative that generates a lot of mystery. I
2:58
very much like that record of the viewer who has no idea what is going
3:04
to end up happening with that which is being thought, gestated and leo Vinci,
3:12
for me first of all beyond being the teacher who is in his artistic
3:21
role, it seems to me that he has something like the man he does
3:25
with his hands. It has that act of faith to know that it is
3:31
modifying reality, which surrounds it with the simple doing of its hands. He
3:38
has as almost a sort of motto, which is that the human being is
3:46
the only animal that is able to create something new for the world. No
3:52
other animal can do it. They can do things, move around, transform
3:55
the environment, but never incorporate something new work And well I found something fascinating
4:03
in that world of reading that I think at a point so active of the
4:11
ninety- two years above a scaffold, getting up every morning with a new
4:15
idea of working as fast as having crossed. I don' t know very
4:23
critical situations like the pandemic. Let' s say feeling that he was in
4:26
his salsa, not because he had every right to not have to meet people
4:30
and stay in there working every day that, as he says, is more
4:34
to play than anything else, but not to play from the point that one
4:39
only enjoys, but to play as the boys do, that they feel they
4:43
are doing something serious, that compromises them, that they put their soul and
4:46
life into that, that they do that good. I found it very fascinating
4:50
how you hit him in two thousand nineteen. I don' t think you
4:58
knew him clearly. I was just finishing up. He looked at the traces
5:01
of oblivion and had collaborated in my film Leo' s son, whose name
5:06
is Pablo Hincci, who is a wonderful writer, and asked me if I
5:13
wouldn' t take some pictures of him in the place where I thought I
5:15
would give a literary workshop that, since I didn' t have another space,
5:18
was going to be in his dad' s house of Leo. I
5:19
had references to Leon as a plastic artist as a representative of the Grupo del
5:26
Sur, all that group that in the sixties as it generated, I had
5:30
a kind of contrast with the Institute of Itela, with snobism, abstract art,
5:39
that impacted the viewer more than what they proposed, that was an art
5:45
as more committed, with a concept, something to convey an identity as more
5:50
of the qui and now of the idea of cultural identity. That kind of
6:00
elaboration. But good to get to that workshop house, which is actually an
6:08
old 19th century bakery set in a space that I assure you. Well the
6:15
movie could happen any of those scenes in the middle of the 20th century at
6:20
the end of the 19th century. There are very few elements that run you
6:25
from the present that I say are part of that they identify you with the
6:31
21st century, because the tools of Leo are inherited from an Italian uncle who
6:38
must be a thousand eight ninety that is, and he in turn builds his
6:43
own tools and lives in a completely analogic and concrete world. And then it
6:54
' s how you say it. Maybe this is the secret to getting to
6:59
that age, that desire to keep doing things. I think I owe it
7:04
to Marina, too, which is a very big stimulus for her partner.
7:08
They have been together for forty years, they are quite different in age,
7:14
because Marina was a student, she was a very talented sculptor, but well
7:19
that of sharing the creative place and being able to exchange between them, to
7:27
criticize each other, but also to accept that they work in such different ways
7:29
in a work. It' s like very enriching and nothing is like these
7:35
love stories, where you can do something different, but leaning on each other.
7:41
I don' t think there are like many different worlds in this documentary
7:48
and in these lives that you reflected there in the film now you had,
7:56
you had some kind of approach to sculpture. Before him you didn' t
8:05
go into that world as you left. It always happens in that way going
8:11
with him, not totally, at least, for me, documentary cinema is
8:15
not a space in which one becomes a specialist in a subject and therefore develops
8:22
it, but quite the opposite. You feel a kind of thing that provokes
8:31
you and, ultimately, your characters may sound a little bit, a little
8:41
inspired by the word. Yeah, I mean, they' re like you
8:45
through those people, you' re wanting to tell something, and it'
8:50
s not necessarily talking about the artistic quality of what you do. Or I
8:52
was more interested in being able to tell that story through that very intimate world,
9:01
the things that go through the head of a sculptor At that age,
9:05
let' s say when it came to living things as very strong throughout his
9:11
life and he continues to find stimuli for the creation and occupation of his territory.
9:18
This doesn' t need to get out of those margins to be happy.
9:24
Let' s say no more than good the ambition out there to return
9:28
to nature, because it is also its space of creative feeding. But,
9:35
well, nothing was like composing certain margins cutting the look of what I wanted
9:41
to tell about I read, but at no time do I feel that it
9:48
became that when it was the inierso thing it wasn' t because I was
9:52
a specialist, nor did I particularly care about the comic book. I was
9:54
somehow interested in that extraordinary thing that had happened in our lives, that made
10:03
us know each other, that is, what was there about how it was
10:09
said. There' s a word in French that' s what it does,
10:13
that' s just different from the everyday things you say. Well,
10:16
here' s a movie, because this isn' t what I read now
10:24
when you found out that there was that thing you' re looking for in
10:33
your movies that raw material and because you didn' t know it anything but
10:39
by references from your son. Of course not, well, I didn'
10:43
t know him by his own reference, but well, his son was almost
10:50
a casual thing to see him working. But to me I read I had
10:56
something like a jepeto not that creates a creature that transcends what we merely say
11:07
the inside of a workshop and I don' t know I was aware from
11:13
the beginning that I was a character as very rich to exploit, because apart
11:20
from, it also has something so it happens to people who are already very
11:22
old, who are beyond everything, that is, are totally uninhibited to what
11:28
one is going to look for or propose and at the same time I told
11:30
him I read. I' d like to if you feel like filming you
11:33
through, once a month, over a period of time exploring this. But
11:37
to see you, but what do you want to count on this, not
11:41
as returning to this synthesis of what art should be. There' s not
11:43
what you' re going to want to tell through this, because if I
11:46
don' t know if I' m interested in something, that you see
11:50
a camera, that comes and just registers me, that doesn' t interest
11:52
me. No, then yes, of course, exactly. Yes, it
11:54
was and it was good and it was also like a struggle to overcome his
12:01
own preconceptions of what he expected to be a movie about him. He wasn
12:05
' t a guy who was already as good as a pitcher for all his
12:09
years, years of teaching, also of being able to talk in front of
12:15
a microphone and be as clear as he meant. Well, none of that
12:16
matters to me. I don' t want you to be the teacher.
12:20
I want us to look. Not when I come to film that you'
12:22
ve got everything in place. The sculpture finished. I' m not exactly
12:26
interested in the process of chaos not showing me that you' ve already been
12:31
able. But, well, that cost a little, not sure, well
12:33
somehow it was, as I understand it, to show the back room,
12:39
the kitchen totally. Yeah, yeah, yeah, and that' s good.
12:41
I don' t know if a filmmaker would suddenly accept that game as
12:46
well. Not obvious, if you get signed, no, of course.
12:50
Of course, especially for a filmmaker who has at most control. He needs
12:54
that control of knowing what' s going on on the other side of the
12:56
lens. I wouldn' t be prepared at all for that to happen,
13:03
but with him you would put him in prande with all my characters. I
13:05
always need that now, both in your film, before and in this one,
13:13
there is a poetic, there is a poetic narrative with images. That
13:22
' s a style you were acquiring. It' s something that comes up
13:33
doing poetry with images. I say no, I really like the cinema that
13:37
makes you think, I mean, it' s not necessarily bombarding you with
13:46
a text, with a music, but it gives you room to question yourself,
13:50
to go see, to say, to see why it' s there.
13:54
Piba decided it' s all grown up all this time. Of course,
13:58
there is something else on this general plane that you want to tell me
14:03
that you are not just putting yourself into what is happening in an obvious way.
14:05
So sometimes I don' t know the light that enters in certain ways
14:13
from a window makes a machine that, obviously, let' s say,
14:18
has been used for more than a century. Or I don' t know.
14:22
Things like very small for me contribute a lot to the story that I
14:28
' m trying to tell and sometimes it' s those little things that sneak
14:33
around in a dialogue between them or whatever they contribute like that visual poetry that
14:37
you refer to and that, in short, are the ones that I like
14:43
most to play or build with. Let' s say, it happened to
14:48
me with them and working with people who aren' t obviously actors in that
14:54
real world built through actions that obviously involve a staging because you say. Well,
15:00
I' m going to tell you this, and I' d like
15:03
to see a little narrative nucleus later, that' s in the movie,
15:07
for example, that I read wants to get back a picture that Sara Facio
15:13
took when she was thirty- four years old in the studio. Well,
15:15
that' s real and a but, well, if I put them to
15:18
you, sometimes that first exercise makes things sound a little forced. It'
15:26
s good that they do it that way and all, but it' s
15:31
almost like the attitude of a hunter standing there waiting until a moment comes up
15:35
something that' s extremely spontaneous and that' s where I' m going
15:41
then it' s like poetry, that' s going to come up,
15:43
as naturally, in those things, in that waiting. Leo Vinci is defined
15:46
as a laborer who does not believe in inspiration or sacrifice. What do you
15:52
believe in when you start a movie? Watch. I consider myself a bore.
16:11
I think I already came with this story with Lineers, that he said
16:15
that more than inspiration were the kolo hours that you put in them and that
16:22
you had to create at least ten things so that ultimately, one is good.
16:26
I believe a lot in that, in the labour force and in contributing.
16:30
From that place, I think inspiration is something like very oversized and I
16:37
think it inspires you. It' s good that inspiration finds you working,
16:41
because if it happens, when you' re doing anything else, it'
16:45
s not worth it. But what I like most about reading is this unraveling
16:48
and turning the word to sacrifice. He says that the word sacrifice especially interests
16:53
him because it comes of sacred office and for him is a little sculpture,
16:57
like the sacred building that continues to be chosen every day and that from that
17:02
place he feels much more identified. Sure, well, and the sacred trade
17:07
of the González cinema. Then let' s remember that good. Franca González
17:14
is the director of Vinci full- length, this documentary that will be seen
17:19
on Friday at the CSK, in the framework of women and cinema, the
17:23
Festival la Mujer, the cinema at 18 hours, at 18 hours. Okay,
17:29
and from Sunday five Sunday May five every Sunday in May at 19 o
17:36
' clock in the cinema art Cacodelfia, formerly called Obama. But well,
17:41
that cinema art that many people know because it' s there close to the
17:47
obelisk on diagonal rock. Yeah, it' s exactly Gua to the North.
17:49
We invite you not to miss this documentary by Franca González. I really
17:56
appreciate you joining us here at the Radio audio- visual GPS studios. Thank
18:03
you, Julia. You let me add just one little thing that' s
18:08
not just I think it' s interesting for people. It' s not
18:12
a documentary about plastic arts. It' s much smoother, much more aprectative
18:17
than that. But it' s going to be good that all the screenings,
18:22
both the women' s and cinema' s and the Cacodelfia' s,
18:25
we' re going to be always with leo, chatting with the audience.
18:26
At the end of the delicious film, well, then all invited to
18:33
watch this great documentary. We' re moving on to Radio Audiovisual GPS.
18:45
It was good times, we felt beautiful, Gnidades te Aflix. Thank you,
18:59
but the passage of time. Paulito probrito, which is inevitable, says
19:06
that you pushed raulito down the balcony. Son of a bitch that bitch runs
19:11
her,' cause I' m gonna take her all to us it'
19:19
s late. I don' t know where the fuck to look for something.
19:25
It' s like I forgot everything back, because I painted something like
19:32
finding something, it says something that transformed a date. I can' t
19:41
pinter nas. I need to ask you a question you want to know if
19:48
she' s your daughter. I know all my life. Barbota' s
19:52
dead. You did well the fuck out of the other night. Pablito fell
19:56
by himself and the troll you let me have the trunk of the car.
20:00
Embargo, look at my friend. Tama trasticos de puntas and as the pieces
20:04
fit, fabulous wolf, missing one last power creates Vladimir, a film by
20:22
Martin Riunich with Daniel Aras, Carlos Belloso, Marcelo Melingo and cast Vladimir premiere
20:30
in Salas 11 April. The clouds of Eduardo Pinto will have its world premiere
20:42
at the Fantastic Film Festival in Bilbao that begins on Friday three. He will
20:49
then compete at the Toronto Festival in Toledo, continuing his international journey. We
20:56
' re with Eduardo Pinto. Thank you so much for joining us. I
21:00
don' t know, Eduardo, how are you? I think you'
21:04
re mutated,' cause I' m not listening to you see there he
21:11
hears you perfect. Well, well, how are you? Well, you
21:15
' re very happy here to welcome you and good with this news. Also,
21:18
how the cloud project came about. Eduardo Bueno looks at the project born
21:26
a little. I have an actor friend named Guillermo Zapata, who we know
21:29
from many years ago and who always said to make a film in this we
21:37
are always generating projects and some years ago, ten ago, we started working
21:44
on a project that didn' t go out and three years ago we didn
21:49
' t return to the meeting and we started working on this cloud project,
21:55
which is an initial text that Diego Ramos wrote, which is a schoolmate from
22:00
Guillermo' s elementary school and he passed it to me and I started working
22:07
and we added Gaby Macías and Natalia Torres, who are two very interesting screenwriters.
22:15
And well, we got to a script for a great script, and
22:21
we decided to sign it, that is, it was born of a friendship
22:26
with Guillermo and the need to tell stories and what describes the axis of the
22:33
story, because well, now it' s going to premiere in Bilbao,
22:36
then in Toledo, but it' s still missing for us to see here
22:38
in Argentina. Not exactly. Yeah, the movie' s a thriller,
22:45
it' s a story. He' s a thriller. It is a
22:48
story of three thieves who are engaged in stealing dirty silver, declared silver from
22:59
the politics of the black economy. They receive data from a political pointer and
23:07
from there generate these police events. A film of suspense and also has a
23:15
lot of action, but it has a social fabric that speaks a little bit
23:26
about the darkness of the democratic system. So the film combines a little bit
23:30
of that, that is, the social fabric of democracy. He' s
23:40
so weak that we have the story of these three thieves, who are Diego
23:47
Cremonese, Guillermo Zapata and Andrea Rincón. And then there' s another line
23:53
there, which is maybe the psychological part of the character. Character of William,
24:00
who has a past there in his childhood, something that has marked him
24:03
for his whole life. And then each character was already doing Andrea' s
24:07
or Cremonés', if they have family personal conflicts there. Well what the
24:15
film does there combine all these narrative lines and do something like I think it
24:21
' s a very film. The people who watched it tell me it'
24:26
s a very, very powerful film, a lot of power and, besides,
24:30
a very powerful cast. Not because you just named them three, but
24:37
Luciano Cáceres is there and that Hermo Zapata, Alberto Ajaca, Leonor Manso,
24:42
Patricio Contrera, Daniel Fanego, I say a cast. This is only achieved
24:49
in two ways, with a wallet or friends in whomever. What' s
24:56
your total Julia case in the wallets once it' s not my case.
25:00
And this is with friends, this is with talented friends. I mean,
25:08
I mean, this is an independent movie. We continue well, we have
25:12
done it outside the industrial system, We have filmed it as in various stages
25:21
and yes, as you say, the artists support us, trust in the
25:29
final product and good and so I work with Fanego, with Llonor Manso bueno,
25:33
the Luciano Alberto Ajaca, Luciano Cáceres, who is again he was to
25:38
be a bigger character. He ended up making a character, a participation and
25:44
thus a list of actors. Maria Zubiri, Ninna Spinetta. I don'
25:51
t know it' s like a cast. I' m not very aware
25:53
of them anymore. It' s happening to me. Good wisdom happened to
25:56
me, but I am not very aware what I do know is that this
26:00
is one that we always face with the group of artists, serious and true
26:07
proposals, with intentions of art, of narrative, of ascension. So,
26:15
as you say, wallet, friendship and talent. Yes, of course,
26:21
well I was deliberately asking you, it' s not, because I know
26:26
that you work that way and that, besides, the actors want to work
26:32
with you, the actors and the actresses. Now, at the age of
26:34
twenty, you incorporated a phrase from the taxi posters that said on every street,
26:41
in each place there is a forgotten character, desperate to prove that it
26:47
exists. It' s the perfect phrase. That' s the cloud that
26:52
keeps that premise. You' re the director of the forgotten characters. Yes,
26:57
yes, yes, they are yes, clearly they are characters and not
27:03
only they are forgotten, but they are humanized. They' re not thieves.
27:08
Like we don' t get in. They are not thieves of economic
27:17
necessity from the neighborhoods, they are people, perhaps from another social level,
27:23
but that each one in the film is not that they appear shooting. There
27:27
is no moment where we stop and show each character' s human conflict.
27:34
And that seems to me to be good, because it makes everything more plausible.
27:41
That' s a feature of your cinema. On the other hand,
27:45
Eduardo asks for the social, the profile of the characters and the crossing of
27:51
genres. Well, in this case he' s a thriller, he'
27:56
s a cop, too, but he' s got something to look at,
28:00
he' s got something social. What I was telling you before is
28:03
that there is talk of this clash of yellows, of celestial political parties and
28:11
of dollars, because that' s when you see the movie that soon the
28:15
bullet was based to see is talked about colors and that' s there as
28:18
a proposal. But I say no. The film is a movie that has
28:22
a fantastic side also because there is a ghost turning also in the head of
28:30
the character Guillermo Zapata and it appears and then it takes you and you end
28:37
up understanding in the end why this character. So good play. It also
28:42
has and has action scenes. It has two or three intense action scenes that
28:48
I am happy with the result. Where you filmed. We signed it in
28:53
general Rodriguez entirely and there are some scenes that we have filmed in the north,
29:00
in the Quiaca and in Humahuaca. Those border crossings, perhaps those border
29:07
crossings, those boundaries to be transgressed Aha. Well, Eduardo Pinto here with
29:18
us on GPS audio- visual Radio. Little bit, little bit by little
29:25
hours of leaving. So for Spain, May 7th will be world premiered its
29:30
new movie in the clouds. This is going to be at the Bilbao Festival.
29:36
Then Toledo and then, well, we' ll find out. We
29:41
' re going to be very busy after the fight there starts like a series
29:47
of festivals. There is one more very important for the end of the year
29:49
that we can not yet say anything, but the Fight starts and also Julia
29:55
I will premiere in the month of June. There, in Madrid we premiered
30:00
a film that I directed in Spain, called El Attico Ajá. It'
30:03
s an independent movie that I also go there to premiere, to show well
30:11
then that' ll be another contact. I' m sending you a huge
30:15
abrausus. I wish you well and well, we' re still on GPS,
30:21
audio- visual radio. Thank you, Eduardo, a hug was totally
30:38
the 2, 000th account of the Mountain. The Argentine opera Federico Luis,
30:48
will compete in the festival in the sixth- third edition of the week of
30:56
criticism of the Kans Festival, which begins the May kid. We are like
31:03
Federico Luis, director of Simon de la Montaña. It is a pleasure to
31:08
welcome you here in GPS and audiovisual radio and good and also, to know
31:14
that through this participation of yours the Argentine cinema will have a great stained glass
31:18
there at the festival, at one of the most important festivals in the world.
31:22
Not what Cans is like, how are you? Thank you for the
31:30
invitation yes, as you say, I feel above all as a responsibility to
31:37
be able to represent the cinema of our country well and to be able to
31:45
spread the word of the situation in which you are asking for help. If
31:49
that' s why she' s also a very important stained glass window and
31:56
you feel an extra weight for this well, I feel it' s a
32:01
rare and particular situation. I feel like it' s like news, which
32:09
could be good news, but within the framework in which it is, it
32:13
' s more difficult to take it as such and above all I think it
32:23
does, which carries a responsibility. Perhaps in other times I would have thought
32:27
more within the film and now it is inevitable to think as outwards. Of
32:30
course, of course, well, preliminary and superficial information says that Simon of
32:37
the Mountain is a human drama that questions the look on disability. What the
32:44
movie Federico is about. Well, the film does try a little bit to
32:53
challenge the most common and common ideas about human capacity. Just the word disability
33:04
is a word that I' m like trying to think about if it'
33:09
s a word that would be good to keep using or that would be good
33:16
to stop using, because it puts a lot of accent on an absence or
33:22
about defining the characters in the movie through something they would have missed in relation
33:31
to an idea of a normality that also to question. So, the first
33:37
thing I think until I can find some term that is a little more human,
33:44
is also, at least, manifest as a disagreement with that word.
33:52
Well, and how did you get on that subject? What drew you to
34:01
tell this story? Yeah, I' ve been getting close to several movies
34:14
and years ago in different ways. In particular, the idea of this film.
34:21
A little appeared to me in a conversation with one of the characters,
34:27
character of the film called Pehuen Pedre now also premiered a short in real vision
34:35
that is starred by him, also by Lorenzo Ferro and Austin Daulte, where
34:43
he already put some of Simon' s ideas of the mountain to the test.
34:52
And in a conversation with Pehuen, he asked me why I didn'
34:55
t have my disability certificate at a time when we were kind of exposing the
35:00
things we thought were the imperfect areas that each one had and when I started
35:07
thinking as more carefully about that question, it went away as revealing a little
35:15
bit the idea of this movie. Well, you just named who the central
35:23
character would be. Let' s not say the protagonist is Lorenzo Loneso Ferro,
35:30
who is Simon, but Pegüen Pedre is a key figure in this story
35:39
and to him how you arrived. It' s just commented that you have
35:44
a short preview, but what attracted you to decide that Bueno was almost the
35:51
co- star of your film. Okay. I met him in a theater
35:55
class that a friend gives to me called Tamara Garzón, in which she has
36:05
a large number of students, with many different particularities, both physical and mental,
36:13
and within that group of people that brought me a lot of attraction always
36:22
and a lot of curiosity was Pehuen, who perhaps was the person with whom
36:31
I achieved a bond the most. And it' s a bond that comes
36:37
as if perhaps without at first an idea that that would transform into a movie
36:43
and then it was transformed as I got to know it and it was like
36:49
I could see the world a little bit through it. I mean, that
36:54
' s good, it' s a story that was built through the bond.
36:59
Above all, I understand what you' re counting on. Yeah,
37:01
yeah, mostly, yeah, Pehuen is just like me thirty and good is
37:08
one year younger than me. At one point. I, when I started
37:13
to know him, felt that it was like knowing another version of what my
37:17
life could have done, because we went through many similar things and different things
37:25
and a little bit that through knowing him more, I also knew more to
37:29
myself a little bit of that place of uncertainty of identity started to appear to
37:36
me as something cinematographic, little by little and to charge like that form of
37:45
fictional film that at first was more a form of friendship, then it was
37:52
a more form of a more documentary essay that is in the short, like
38:00
a good stone snake, which is the one that premiered in bisondurir yes and
38:04
like with those ideas, ideas that I already brought also about a story of
38:10
another character. A little bit of that stuff went off mixing and the story
38:16
of Simon of the Mountain was built. The mountain is just another very important
38:24
element within this story. It wasn' t hard shooting to incorporate that landscape
38:35
into history. The landscape is perhaps something that also came more from my biography
38:45
and perhaps was like a more isolated element of what the characters and the links
38:51
of this particular story were. But yes, it gave me a lot of
38:58
the feeling that I liked to think that Simon is like a fantastic construction and
39:05
that he is a character that what he does is gather a lot of questions
39:08
and concerns around these issues of identity. Then I kind of liked the idea
39:19
of thinking of it as a mythical half- character, as a character almost
39:28
so in the antipodes of the naturalist, of the documentary, that it was
39:34
almost a character like an ancient novel and the context of the mountain. It
39:43
was a bit like an emergence for that kind of characters that at the same
39:49
time gave me the feeling that I, being in a landscape like the mountain
39:52
and having my character in there, was going to have to make much more
39:57
drastic decisions about him, how to film him not, like I had a
40:02
very amazing landscape around and I had to decide if I would prefer in each
40:09
frame to film in what percentage to the mountain and in what percentage to the
40:15
character. I remember now. You don' t know what I thought before,
40:22
but I remember now when Pinsky told Gerzo that he was tired, that
40:28
he was filming open plans because he had gone all the way to Peru and
40:32
that he wanted me to film it to him. And that didn' t
40:36
happen to me. But it didn' t happen to me that an actor
40:37
or that a character kind of posed something like that to me, but I
40:43
did think about it a lot. I, like, all the time I
40:45
thought between the mountain and the character. Of course, who acquires the most
40:53
prominence at a certain time, not one at a time. Well Federico Luis,
40:58
director of Simon de la Montaña, this human drama starring Lorenzo Ferro,
41:04
which integrates the week of criticism of the Kans Festival Now, in a few
41:08
days, you will be there presenting your film. Thank you so much for
41:15
joining us and good congratulations for this arrival in such a window of international cinema.
41:22
Thank you so much. We continue and hope to be able to carry
41:30
the flag a little to the Argentine cinema so that it resonates a little in
41:35
the world of the situation that we have to live now. That' s
41:37
how it' ll be then. Thank you very much we continue on GPS
41:51
Audiovisual Radio of the interest so on Gran tanto and seven productions in four competitive
42:08
categories and ten video minutes. Among other activities, they integrate the programming of
42:15
the eleventh edition of the International Film Festival on the Work to Build Cinema,
42:22
organized by the Social Network WUACRA, which is to be held from 6 to
42:27
14 May in a face- to- face manner at the San Martín Cultural
42:32
Center and at Vicente López' s York Cinema. At the same time,
42:37
it will also maintain its online programming, available on October platforms, TV,
42:43
lumitón and the festival website itself. We then received here on GPS Audiovisual Radio
42:52
the executive director of building TV and the Festival Construir Cine, Alejandra Marano.
42:59
Very welcome to the n how you' re there we' re listening to
43:07
you. If you were mutated, I think it' s good how it
43:13
impacts this film building edition. The reality facing the film industry in particular and
43:19
the Argentine culture in general, impacts strongly. Not we are trying to carry
43:31
out the editing. Anyway, it will be a little more compact, but
43:36
we try not to be good, not to lose the commitment that we have
43:43
had for eleven years and that has the Ukrainian social network, to give a
43:47
space to those films that address a topic that for us is fundamental, that
43:52
is the work and it crosses us from all places, that is, not
43:58
only from the cultural reality in the particular rich graphic cinematography, but also from
44:00
the Argentine reality. I mean, it' s an issue that comes with
44:06
everything right in May, I think it' s going to go through a
44:08
general strike. We' re seeing there, well, how we' re
44:15
going to reschedule, because obviously, that day probably doesn' t work at
44:19
all. Impact from all over the place. On the one hand, it
44:22
impacts from logistics, but well, from the budget, you also try to
44:28
take it forward. Fewer events are made, but the same amount of projections
44:34
or at least we try to make the same amount of projections a smaller team.
44:37
Well, there we are, delighted to be able to cope. But
44:43
it also impacts from the emotional, because we talk about work, sustainable development
44:49
and for us that has to do with social justice and it has to do
44:54
with economic, social and environmental justice and it seems to me things now that
45:00
are on the table. Then we couldn' t not do the editing.
45:05
We didn' t want to delay them, because for us Mayo is a
45:08
very momentous month. So, well, nothing goes through us from all sides,
45:14
but we hope that we can fulfill our mission, which is to give
45:19
the movies a space so that what they reflect from the reality we live in
45:24
can be seen. We expect everyone to come to the show. We hope
45:30
to receive them in Sala Manuel, Antín del Cultural San Martín, which always
45:35
opens the doors to us, and also the cinema York Star libr Online a
45:40
part of the programming, because for issues of rights and of the films tours,
45:45
obviously not all can be online. Some of them are gonna be one
45:50
good day. They' re going to be there a little bit of the
45:54
online grid that we' re going to announce. They already have the closing
46:00
opening films. They' re going to be part of the competing movies.
46:05
We spoke with greetings for a family of yair a good movie, a documentary
46:12
hybrid. It' s a documentary, but there' s a lot of
46:19
the identity of the artists' work, which we also thought was important to
46:22
open with a film like that. Sure, yeah, and good. Also
46:28
that day we are going to have an Argentine short film by a director who
46:35
is called bright banks, very nice, very nice documentary. Okay. I
46:39
don' t want to talk much about flutes because, as they' re
46:45
all in competition, I don' t want to privilege any because we'
46:52
ve received a thousand seven hundred and eighty inscriptions from all over the world.
46:52
Ah well, yes, a lot, luckily, of which two hundred and
46:57
forty- five were national many short films. The truth is that in national
47:04
was a record. And how they got to this selection, because I guess
47:09
with so much repercussion people who want to participate more and more in building in
47:20
the festival, building cinema, how they came to this selection that they are
47:25
going to present now and what is the thematic lge. There is a thematic
47:29
axis that crosses the programming. Yeah, yeah, yeah. The first thing
47:32
we look at is about film quality. That is, we are dealing with
47:39
all the films that are in competition, that are to compete, that have
47:46
a cinematographic quality, that represent us, that are author films and that have
47:53
a look that goes through the theme of the festival itself, that has a
47:59
relationship with the world of work and its cross, with sustainable development and how
48:02
things affect us such as migration, climate change. Well, the work of
48:08
the artists, which sometimes has its particularity, good works as in this case,
48:15
this short walkways that are the ones that go at night transporting things in
48:21
the river from one side to the other. Well, we try to have
48:25
a diversity of themes, but also that represent the seventeen objectives of Agenda twenty
48:32
- thirty, but also film quality. There' s an author' s
48:38
look in the movies. Well, you are already working on the objectives of
48:45
Agenda 2030, so this year you will strengthen it even more I understand year.
48:53
Let' s go full with that,' cause we don' t
48:59
think that' s enough. It seems to us that this is a time
49:04
to strengthen it, because in our country, because it is something that out
49:08
there seems extremely theoretical, the objectives of the Agenda two thousand thirty. There
49:10
are times when we are about this with people or with other festivals, and
49:15
some tell us, but as yet they are not even so aware of what
49:20
gendaireinta is, Agenda twenty thirty, the truth that it is a framework that
49:22
goes from democracy, social justice, inequalities, well, climate change, the
49:30
work that for us is decent work, that has to do with that work
49:36
that not only complies with the rules of legal work, but perhaps also strives
49:38
to meet the expectations of working life for workers. So sometimes, when you
49:53
say you brought decent, many times you asked me but what there are indecent
49:58
jobs. It doesn' t have to do with that, but it has
50:01
to do with the fact that work is part of our life structure and that
50:08
' s what we want to reflect in the festival, sometimes positively, it
50:14
' s reflected in movies and sometimes negatively. And also have the space to
50:19
show that and be able to generate a dialogue, a debate about this.
50:25
That is, I understand that there are also planned activities that have to do
50:30
not only with the projections of these films, but with what they propose thematically.
50:37
Yeah, there' s good. We' ve got, like,
50:42
pretty advanced. I don' t want to confirm it now because we'
50:45
re just like the last ones. But almost all Argentine directors, at least
50:46
those who can come, want to come and talk. For example, on
50:52
Wednesday eight in the York cinema, the eighteen thirty we have the movie of
50:58
the star I lost is going tubustes and it is also a film that speaks
51:02
of actresses, of age, of actress, of woman age and how that
51:10
is combined. It seems to us to be a very representative film, especially
51:15
for the genre. It cost us a lot. Women' s movies cost
51:17
us a lot. There weren' t so many inscriptions, luckily, the
51:22
ones that were very good, so we could put our granite there. Almost
51:31
as many directors as you can. There are directors from Uruguay who also told
51:36
me we' re going. It doesn' t matter that the festival can
51:40
' t help us. We want to go, we are trying to go
51:44
and then we also have a special screening of some short films produced by the
51:50
International Labour Organization on child labour, which for us is a fundamental topic that
51:54
has also to do with reducing inequalities, having there a panel with authorities of
52:02
the International Labour Organization and COPRETI, which is the organization that is responsible for
52:08
the Office of the Ombudsman of the Nation. Well everything to talk about child
52:12
labor, so it' s one of the spotlights I understand this year,
52:15
this edition, to build cinema. Yes, child labour is always present,
52:21
but yes, this year we put it as a little bit more because the
52:25
International Labour Organization asked us as the space for the projection of these shorts and
52:30
it seemed to us that it was a good time. Also childhoods, such
52:36
as the two corners, childhoods and the elderly, which is sometimes so under
52:39
- represented or poorly represented or poorly represented in the cinema or well, yes,
52:49
over there on TV more, so let' s talk. There is
52:52
also the film, that murmur of Uruguay, which speaks of old age,
52:58
which is also very interesting. So, in total, how many movies as
53:02
soon as you' re doing hundreds of films in competition, we have ten
53:12
video minutes, we have the focus of sustainable development, which is five movies,
53:19
and then we have these good International Labour Organization shorts. Much to see
53:22
then, in this eleventh edition of the International Film Festival, build cinema that
53:30
well, with effort arrived and will then be in theaters and also in its
53:38
online version, as it has been happening for a couple of years. Then
53:43
I nominate the headquarters because you already named them, but thank all the headquarters.
53:46
Not also, because the doors always open to us are added screens then
53:52
that is very important also for the diffusion and circulation of the contents. Alejandra,
54:00
thank you very much for this participation in GPS audiovisual Radio. Well,
54:06
we' ll be reporting then everything that' s going on about this new
54:13
edition of building cinema. We' re sending you a huge hug and we
54:17
' re seeing each other saying goodbye here then with Alejandra Marano on this new
54:27
radio audiovisual GPS broadcast. We expect you as always, next Wednesday here on
54:31
radio train live topic from 19 o' clock and you know remember as we
54:38
always say, but now more than ever, watch Argentine cinema until next week
54:45
and thank you for joining us