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GPS Audiovisual T05 P16 - ENTREVISTAS PAOLA RIZZI-EDDIE CALCAGNO, MARCELO MELINGO, JAVIER PORTA FOUZ · GPS Audiovisual

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Audio- visual GPS radio every Wednesday at 19 o' clock. The protagonist
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is Argentine cinema. In Julia Montesoro' s eyes, a treasure, a
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program with a gender perspective that nucleates the country' s film industry. Argentine
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cinema will never be the one it is until now. We, from audiovisual
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GPS, continue to strive for a culture as the fundamental pillar of society,
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a culture that is plural, accessible and that uses the resources of the State,
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which has State resources for its development. Welcome to GPS audiovisual radio,
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with the journalistic production of Norberto chap the driving of Julia Montesoro and in the
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technical operation Gonzalo Sorais. Two Thursdays ago it premiered in the cinema Goumont Short
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Stories. It can be said that it is a classic of Argentine cinema for
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more than two decades. If I am not mistaken, an anthology is of
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nine short films that emerged from the contest called by the National Institute of Cinema
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and Audiovisual Arts, a contest that exists since one thousand nine hundred ninety-
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five and that has the coordination with monitoring, I would say well, with
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the fundamental work of people very recognized in the film industry. I' m
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referring to Paola Rici and director Eduardo Calcaño. At the same time that it
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opens, uncertainty grows, short stories are released, short stories twenty- one,
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and uncertainty about their continuity grows. There was no official communication about this.
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Nor was it clarified too much what will happen with this production that,
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I repeat, arises from the seedbed of talents of Argentine short- metrajists,
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film students who present themselves to a contest, a contest that is rigorously monitored
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at least so far, until this edition, and well then this feature film,
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these short stories, is screened. We welcome Paula Risi Edi Calcaño,
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two highly recognized professionals in the audiovisual industry. How welcome you are. Thanks
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for joining us. Thank you, Julia, thank you. We' re
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sorry. Well, at this point, I' m not saying it'
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s not good that you' re in pain, but let' s get
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into the subject by counting. You are practically from the beginning of short stories,
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that is, you accompanied growth, development. I, as students,
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started as a student. Of course I started working on the first batch there
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was, a batch that was steel, not one. I worked on a
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short by Fernando Díaz called Rubén el Murciélago, and that was my first experience
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as a second assistant to the Chamber. It was filmed in 35 millimeters,
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almost professional type in my life. Then I started. I was already finishing
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school, but I started working as a student. Then, what I aspired
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to was to make a photograph address in thirty- five millimeters, which I
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made the game in one of the shorts that will have been the third edition
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of Brief stories. And in a moment he summons me to Baby Camin Era.
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The person who was in charge of the contest was already Eddie at that
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time, so day is a year before me, more or less, We
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estimate that we are around, about sixteen years uninterrupted. And, well,
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that' s where I' m called by Baby to be a short story
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technical consultant and Eddie sa you were on your way to that task. With
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baby walk Yes, Baby also called me to be part of this kind of
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advisory committee that they had set up and one of the objectives was to be
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able to advance because the series had been slightly delayed. In fact, today
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is number twenty- one and twenty- nine years ago and I was a
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mentor to transfer my experiences to the boys. But what draws me most from
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short stories from the beginning before I work, is this story of the Boys
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' Union at a time when national cinema was very bad. That year,
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fifteen films of Lake Traje had been released, and there were some boys who
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came together from different schools and started doing everything that the filmmakers of previous generations
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didn' t do, that is, the important thing to unite, to
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communicate experiences and thus enrich themselves. And so they became rich and became the
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identity of Argentina, which is what I tried to capitalize on. And another
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fundamental thing was that I could advise the Mira boys. This seems to me
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that you could correct it a little bit, because if the director insisted that
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he liked that clearly, your film, that is, the film was theirs.
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We were collaborating and, well, in some cases you get praise,
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because if you look at Eddie this movie is good, because I got everything
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you told me and I got changed everything and in other cases I didn'
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t. That doesn' t mean it was called the others. Well,
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but that spirit fascinated me and I tell you that in all my international experiences,
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Brief Stories is a program, it is a very but very respected cycle.
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Yes, yes, yes, yes, unpublished I would say no,
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as experience exactly. It is another point from which you, to whom you
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contributed with these monitoring, this mentoring task. Now what is the axis of
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the last Brief Stories that has just premiered. There is a jetematic, there
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is a search, some aspect that you have noticed that stands out in particular
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in this edition. Look at me what I like about short stories is that
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I always get confused because we don' t find a theme that makes the
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focus of the theme of all the shorts. But if we find in every
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short something of ours, which is the important thing about cinema, it'
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s not our short stories, it' s our identity. Sure, well,
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let' s remember in case there' s someone who doesn' t
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know what might happen that short stories. In addition, many of those who
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are now well- established filmmakers came out. Of course they' re short.
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Not participating Lucrecia Martel I say Pablo Trapper I don' t know if
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they always say it about Pablo Trapper, but I' m not convinced,
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I' m not sure. Hab went through short stories, well, I
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think he passed as director of photography, not Pablo of directors. Well,
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there' s some collaboration, but I made names now, because, add
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Burman, we' d be a day, we' d be unfair.
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Sure, if you want, there' s so many Lucrecia Martel is one.
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He has stood out internationally, has been a participant in the international jury.
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Yeah. Yeah, yeah, cancel Venice. Yeah, yeah. Yeah.
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Now together the premiere is always a joy, but in this case it
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came with uncertainty. It is not true the release of short stories twenty-
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one, together with this joy of being able to bring to the screen and
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connect the audience with this production, came with this uncertainty. How you lived
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this premiere after so many years of work. It' s just, well,
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this premiere came to him and me, having been fired from the link
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' s first batch of layoffs for having been hired for almost sixteen years in
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a row and we live it as good. A cycle closure. That'
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s how we talked about it as good. Let' s celebrate the closing
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of the cycle, the uncertainty. There are other shorts that are being produced
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now. How that will follow, how the quotas will reach you, you
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will be able to finish the short ones. I have no idea, because
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you don' t have one. They were already working on the pre-
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production of the next edition of stories. Exactly We were working, we'
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re halfway through work. They were happening because, apart from the contest,
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it had become federal and there was a short for each province and we were
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in the middle of work. When we get fired, then, then I
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don' t know. And with regard to quotas and you will receive,
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you will not receive queth which is what always happens and that many movie people
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are in that situation, not just short story boys. Well, I have
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no idea. Not me. What happened to me is that I really wanted
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to scream. You guys know we got kicked out and then I said no
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how we' re gonna wait for the party, the premiere. Nor do
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we feel the navel of the world if we put it we must celebrate with
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them, that they present their films in the cinema Gomon that is also in
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danger by what is heard how the school runs alone. I took pictures of
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him, because the state of the mont cinema is spotless. If I took
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pictures of the exhibition besides, no, no, no, but the cinema
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itself, the carpet space is amazing. I mean, the seats, I
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did a photo log that day so they wouldn' t tell me that the
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movies are in bad shape. More, it' s flawless. I got
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the pictures. Yeah, yeah, I hope that' s very good.
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It has more projection p. That makes me wonder how the government can put
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an economist as president of an institution, an entity that is, moreover,
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autarchical and this nobody emphasizes, it is autarctic, it receives, if sometimes
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it receives little money from the government. I was laughing, because it'
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s like my law named me President of the Cential Bank. Yes, of
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course, of course now you had some kind of contact all the place you
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occupy within the industry individually, but besides, the place you occupied for so
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many years, being mentors of short- lived stories I would say already,
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you are not going to say it, but I say, short stories drivers
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received some kind of communication, some response regarding good, what is going to
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happen with this production, what is going to happen with you. Not at
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all, no, no, no, it' s more, I got
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the communication over the phone. Then they put me in an email, but
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I got the communication. No. No. Mr President- in- Office,
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that is not the right thing to do. Specifically, don' t
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be a movie fuck. You can' t just think about money when there
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' s art involved. We know that some movie can succeed or fail,
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and that doesn' t mean it' s good or bad. It'
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s those things. The old film directors of my time said that cinema is
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a timba. Well, you have to understand her as such. But there
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they are created by creators who reflect us not. You can say that Bieliski
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made his film and his film is not the Argentine film. For queen exon
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six nine queens, exact from two films. They won oscars my films in
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total won thirty- five international prizes. That I was an international jury of
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several festivals and participated in trips and representing Argentina. It' s very painful.
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That' s why I said from the start that I feel sorry for
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him. I feel sorry for him. I' m eighty- three years
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old My dad was a schic critic. I started in the movies as a
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journalist when I was eighteen, which is more than sixty years old that I
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' m in the movies and they kick me in the ass without telling me
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look that' s why that' s the other thing, not for inefficient.
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It' s not gonna be because I don' t push them or
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think about it now. I' m not sure that yes, that'
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s not so, that it doesn' t have to be like this now,
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given your career trajectory is. And finally, to close this segment,
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this encounter, how they glimpse the panorama of black Argentine cinema. I'
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ll make it a black light. I don' t have another picture right
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now. I' d like to give some good news or say something positive,
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or whatever, but right now and we' re many, many people,
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many families, it' s all a lot of people who are completely
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drifting away. Without this we love, because we do, because we love
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it and because it is a passion that is cinema, culture is something necessary
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to live. Paula Risi Edi Calcaño a great pleasure that you have come all
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this way to share with us this moment I thank you infinitely. They count
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on our solidarity and my unconditional admiration. We' re both moving forward on
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GPS audio- visual radio have faith in me You have to believe me desperate.
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Surrender yourself to medicine, science. Those superstitions to destroy my immortal.
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El Santo, a film by Agustín Carbonere, awarded the best film in the
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international competition of the Baffici. The Holy premiere only in Salas. This edition
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of the Baffisi comes with two hundred eighty- five titles and a record figure
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of one hundred and forty Argentine productions. An insurmountable offer for an international festival,
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but also comes preceded by polemics and discussions with an unusual level of virulence.
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We are with the Director General of the Baffisi, Javier Portafuz, thanks
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for joining us at almost the same time that the opening ceremony of this international
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film show, the most important in Buenos Aires and, well I would say,
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Latin America, is about to begin. Not how you are hello June
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Well here on the initial day exactly in what situation I expected to reach the
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twenty- five years of the Baffisi and on what stage you will find Javier
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Well, after eight years of directing the Bofficy, I was not very clear
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that the twenty- fifth edition was going to direct him. I too,
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in the first place, thank you for the new culture management of the city
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that you called us in December. It was practically Christmas and they said we
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want them to stay well, I say I have to go on with my
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programming team, because we understand the passes without looking. I say and what
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I want if it' s besides the team that I physicalize and arrive in
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April, because when you see me at a date film festival it doesn'
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t do him well. Film festivals don' t do well. While,
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in terms of the pace of work, it was more logical to delay it,
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because we are coming. I' ve got a clear yes, to
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watch a film festival. I work at Baffisic and since the end of the
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year two thousand or so you always end up in a hurry, because it
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is a hyperconcentrated event. It' s a lot of movies and a few
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days invited, lots of things to organize. Then there' s always some
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agonizing. Not this year, especially because the call began when every year ends
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then. Yeah, in that sense, well, it' s a pride
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to be running the twenty- fifth edition of the office and at the same
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time it' s good. It was a little bit, a little accelerated.
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When I' m done I figure we' ll pass out some.
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I don' t know, because if it' s done, it'
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s done. It' s very intense, not clear. Sure. Yes,
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I imagine so now and what are the essential novelties of this edition of
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the silver weddings of the Baffisis. If desired, what are the suggested or
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recommended titles. Well, the titles there, if they' re in the
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office, because we' re recommending them as a general rule, I mean
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it' s a selection of less than ten out of ten percent of what
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was presented. So there' s already a recommendation there in the film'
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s own presence no, and then there are movies that I could recommend that
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they' re already exhausted. Then that doesn' t make any sense.
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They exhausted themselves very quickly after Paris Texas time, those obvious ones. A
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lot of movies ran out that I didn' t imagine they were going to
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vote so fast. At this time we must be in the forty- first
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percent of exhausted functions, that is, it is a lot, but there
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are more than fifty percent of functions left with available locations. There are things
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that I' m recommending particularly because they' re the ones that someone later
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sees and someone writes something and in the other person tells you, but how
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did I not find out that it was. I am recommending especially the two
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films by Cristian Sánchez, the Chilean filmmaker, who began in the 1970s,
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in absolute independence, when there was much less Chilean cinema than there is now
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much less Chilean cinema than there is without Argentine. But at that time there
24:04
were very little cin in Chilean and he made the film The Chinese Shoe in
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the late 1970s, film that was recovered by the trade of the year two
24:11
thousand six and when I said it to no there, I directed it to
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Peña. But Sergio Wolff programmed these films and at that time Cristian Sánchez did
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not sign. Then he filmed again and now he' s not only still
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filming with I don' t know if seventy seventy- seven years, but
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he' s filming a lot. And two of those that made like four
24:36
last year, there' s two that' s ending. Both already finished.
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We' re going to give them in the EVA physical called I'
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m going back and forth and with my feet on the ground. And it
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' s two films that are uniting Luis Buñuel' s tradition. Cristian Sánchez
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himself defines himself as heir to surrealism and says that the promise of surrealism in
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cinema was not fulfilled. And also a certain legacy of Raúl Ruiz Me presents
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two absolutely fascinating films, very different Latin American comedies, absurd. There'
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s not much of that kind of movie. It' s going to be
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Christian here in the first two functions of each indigo movie you shouldn' t
25:18
miss. And from a completely different angle. One of those movies that you
25:22
must remember with Italian films premiered. Let' s say big fte in Argentina.
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In Argentina we knew the directors yes, and also the actors, and
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Alberto Sordi was a star and good films were released because they starred in such
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an actor. Today it' s very short- lived without Italian. We
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hardly know anyone today. I tell you Pierre Francesco Fabino, who is one
25:48
of the most famous actor of Belokio, for example, in the master film
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Traitor, absolutely that the film by Eduardo de Angelis, which opened Venice last
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year and which is a submarine war film and the truth that is a great,
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great movie to watch on screen the greatest possible, the greatest possible we
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have is Commont One and the truth that I highly recommend it. And then
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I tell you the whole festival is to recommend if you want to stop on
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the other side of three fictions to a documentary like, for example, the
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Titan, a Colombian film about the leader of the band Cracken, which was
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the most famous Colombian heavy metal band in history. It is a lovely film
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that, well, there are people who ended up crying like me with the
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story of this gentleman, but who also reveals how little we know about Latin
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American cinema and, above all, Latin American cultural expressions that were really massive.
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In fact, in the film I don' t remember if the singer
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of Rata Blanca, speaking of the tune they felt with Cracken, with the
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band gen hears new, you have that all. You have Chilean surrealist comedy,
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documentary about Colombian heavy metal and a submarine film that takes place in the
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Second Italian World War and from there, well, much more for all sides
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and for all ages. I' d say, all tastes, more than
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anything. Now good ages, too, because I was clear- cut.
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We also have for children, for children, for all films it is suitable
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for public challenge. Yeah, yeah, yeah. This edition of the Buffisi
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has a record number of Argentine films. Yes, the paradox is that this
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will happen at a critical moment in the national audiovisual industry. Well, because
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the movies are done. What you received in two thousand twenty- four is
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what was being done two thousand twenty- three. Some were finished now and
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another even started at two thousand twenty- two or earlier. This is the
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paralysis of the industry, or the partial paralysis of the industry, or the
28:07
cut- off of the film industry or the policies that are to be defined.
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Let us still remember that there is no great news beyond cuts and announcements
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that such things follow us. It wasn' t the gomon. I say
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the Comon never announced that he was following us officially. Never in fact,
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said We are in Lingom. These days we are already beginning to have the
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functions in nego mon that can feel a decrease of films. I mean,
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I don' t know what' s gonna happen next year. I think
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it' s when I pass or Fisis will be seen those films that are
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sixty- and- sixty- and- sixty shorts. I think it'
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s going to be time to seriously discuss what' s going on with Argentine
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cinema. You think that sixty- something long films that we have were selected
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as three hundred and so and are not all the Argentine films that are produced
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in a year, that is, they are presented to the three hundred-
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and- a- peak office and sixty remain and this year we increase the
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number of feature films and cut mainly the Argentine feature films, reducing the number
29:18
of passes of some of those half of those feature films so that more films
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will enter to draw attention to how good Argentine cinema is. Now, if
29:26
you say three hundred peaks there is physical alva, how many more films there
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are. So there' s what you have to lose your fear, which
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is good, what happens to the audience for those movies, because it'
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s something that I' ve been drawing attention to for years, which is
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good. Well, there is a giant production of Argentine cinema that, of
29:47
course, by producing more, is quite more likely to produce good films.
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But how much more, how much more production can grow if we don'
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t pay attention to distribution and exhibition, as it has little public and you
30:04
don' t have to think only about the halls, because it changed the
30:07
market. There are different ways to distribute, different ways to monetize. As
30:11
they say now, there are different ways. There are also different forms of
30:15
production. The link is the main actor at the time, but it'
30:17
s not the only one. He' s not the only one. There
30:18
are movies that give the physical soul that do not have Inca. Of course,
30:22
cinema, the Inca is going to fall almost all Argentine cinema. But
30:26
we' re not talking about saying. I' m not thinking that there
30:29
' s no Inca. The ica still exists. In fact, there are
30:33
authorities with which one can more or less agree. I think the whole swan
30:37
environment might agree more or less. But what needs to be done is to
30:40
think about how to improve it, because there are a lot of people who
30:47
found you from Argentine cinema that privately tells you and with the Inca you had
30:49
to make a change, but in public later you say it. I mean,
30:53
things weren' t right. I' ve been saying that for decades
30:57
now. Yes For me, the last great link management was that of José
31:00
Miguel to India and then there were ten zero problems, among others, that
31:08
was not favored. I' m not saying it was favored. We were
31:12
not favored to have films so much that they were released with more and more
31:17
copies. The tanks began to release sixty copies, one hundred copies two hundred
31:22
and five hundred copies. What are you doing with that? How a movie
31:23
has four hundred and five hundred copies. It leaves very little for the others.
31:27
The argent. The health of Argentine cinema also depends on distribution and exhibition
31:33
policies. You can' t just think about production, and that' s
31:38
kind of hypertrophy. The head set on production only good. Perhaps I don
31:45
' t know if seven hundred and six hundred films are produced in Argentina.
31:48
Well, if, instead of doing six hundred, we make five hundred and
31:55
have part, part of the promotion, more in distribution, more in display
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and you get the wheel to turn much more virtuously, why you can'
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t discuss that. You say, instead of six hundred of five hundred that
32:07
you want to remember to see agentine you want to eliminate at the end that
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he threw I do not explain back, perhaps not six hundred five hundred.
32:15
Why can' t you discuss that in a rational way kindly and without entering
32:22
into slogans. It' s got to get into you I' m turning
32:25
the slogan alive in Argentine cinema. Yeah, well, Argentine cinema. But
32:29
how do we make the cinema sense don' t really have the high defenses,
32:34
because a budget cut process, Besides, there' s a contradiction not
32:43
because the link budget comes from certain places, it said link to self-
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financing and then you see that I make contributions to the national treasure almost every
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year. Then the arguments. You have to take them seriously, you have
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to give them in time, you have to give them in peace and not
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accusing the other of not saying the slogan of the day. It seems to
33:04
me absolutely absurd, useless and not useless counterproductive, because all these internal discussions
33:09
that are taking place on whether the Baffi is pronounced and if it is not
33:14
pronounced of physics thought to make a joke the officio is pronounced ba physical and
33:16
does not go to Fitchi and put it that kind of things that are pronounced
33:22
all those internal discussions, what they do is to drive away the public that
33:28
is not endogamic from the Festival of Argentine cinema. Above all, people get
33:30
tired of it and what we have to do is that Argentine cinema, which
33:32
is the best cinema in Latin America, says a non- nationalist person,
33:37
reaches much more public because it has the power to arrive. But we'
33:42
re talking about things that don' t make any more sense to me.
33:45
Yes, I say as we are speaking to you, not the subjects,
33:50
but a form, no, not exactly in the forms. Then there'
33:53
s another discussion pending, which is what we do with the platforms. It
33:58
is not true by itself to produce to be on a platform. Now how
34:05
you were shocked by the fact that a film winning an edition of the Baffisi
34:10
and the daughters of Albertina Carrie' s fire has been the subject of a
34:17
witch' s house in the nets yes, that I asked myself, hand
34:22
asked me no. I mentioned it another day an interview on Saturday. It
34:24
seems to me a delusion, an absurdity and almost to see when such crass
34:32
discussions arise, not how they described the film. That is already on one
34:42
side and on the other, political fanaticism or on the other. And fanaticism
34:46
and the slogan and the repetition of the same and reflective For me they are
34:52
as harmful there as on the other hand. I mean, I think it
34:59
' s one to say, it' s stupid to say, let'
35:05
s say we discuss it that way, because besides there' s not clearly
35:12
people who don' t know it' s like what I already look at
35:19
a Mondrian, they' re square, what a hand things that don'
35:19
t resist the slightest analysis. How are you going to discuss someone who describes
35:22
Bertina Tarrico' s film, as they described it in the networks. How
35:25
you' re going to discuss that and see the logic of public discussion changed.
35:34
On the one hand, certain access was democratized. Let' s tell
35:39
the public space to discuss it. To someone he argues, a journalist dictates,
35:44
but at the same time a degradation of the opinion and exchange that we
35:52
thought civilized, which is really amazing. I mean, it' s a
36:00
pe movie I don' t know if you can see him or take that,
36:05
that you can, how you respond to that, how you' re
36:07
going to respond to that. Well, from one end to the other,
36:10
from the ideological arch, the mphisi was also at the center of questions not
36:16
yourself. Yesterday you had to expose your point of view on your social networks.
36:23
What a reading it is that you more than you saw me because I
36:29
didn' t want to say either, because if there are many who have
36:34
chasman complexes I' m not chirolite, you saw ah yes. I have
36:37
to say this that you want me to say now right now. Whatever you
36:42
want me to say no. No. What I consider to be good or
36:45
physical, yes, I think, I reflect, I write, yes,
36:53
but it is no other song. Let' s say yes, I'
37:00
m sorry first, you said that no no, because fair and fair let
37:07
' s take the word you did the right thing is that you did not
37:15
now what reading you have about this controversy that puts in political, cultural,
37:21
official discussion, no, and that, well, clearly he has an ideological
37:22
tinge. Surely this note will be heard too they will jump to say everything
37:28
is ideological, Everything is polero. Yeah, yeah, yeah, that'
37:30
s what I' m saying, too, it all comes from an ideology.
37:32
Now it seems to me that what that kind of questioning does is something
37:37
physical, suspicious silence of suspicious silence. Besides, it' s not the
37:44
idea of carrying on a supposed silence that is not such and it wasn'
37:50
t too late to leave a note either and there was an activity about Argentine,
37:55
well, a lot of things, but carrying the inks about that seems
38:00
to me to hurt the aficia. So, if they wanted to achieve that
38:04
welcome, we just tried to defend something physical that is a place that was
38:08
very important for Argentine cinema, as well as Argentine cinema is very important for
38:12
the buffisi which is a place of plurality of ideas of possibility, of discussion,
38:20
of variety and of access. Diversity and access are two key factors in
38:23
cultural policies. The buffisi and allows access at a very cheap price. There
38:30
is an increase in the number of people who can access films and films very
38:35
different from each other, which is diversity. Those are values of cultural politics.
38:39
That is what I wrote in my introductory text of the catalogue of the
38:45
twenty- fifth Vaffisic, a text which it seems they had not read when
38:51
speaking of the suspicious silence and the text was already published about five days ago.
38:54
No, but well, yes, to me it' s incomprehensible that
39:00
kind of attitudes are incomprehensible and they seem harmful to me And, well,
39:09
people who don' t have to be are not that they don' t
39:14
have, but they' re not being a festival. We now have to
39:15
take care to carry forward this festival in the best possible way. I hope
39:20
it will be a success for all the films you trusted in the Buffisica to
39:24
premiere. Well, and I' d add this is already a point of
39:30
view of my own. Not that, moreover, at a time where we
39:34
can say that the baffisi is or would be the only festival that remains standing
39:39
in Argentina, if we start to think, let' s not say for
39:45
all that is spoken, for what is said by the cuts, because other
39:50
ways of making festivals are sought that, well, I think they are welcome
39:55
too, but I say in this case to throw to the only stained glass
40:04
that has at that moment the cinema as festival. I don' t know.
40:08
I don' t know if that' s the right thing to do.
40:12
Well, there' s people, there' s a lot of criticism
40:14
to make. Without a doubt, there are always lots to make, that
40:19
is, the amount of mistakes we see while they are happening and we try
40:22
to fix it and sometimes you can' t. Sometimes you can' t.
40:25
There are things that today a film declared to last one hundred and nine
40:30
minutes, it was sent a copy of one hundred and thirty- three,
40:35
starting with those small and practical things. Then after, when people get out
40:37
of that movie, it lasts 24 more minutes and it doesn' t get
40:42
right to the other one, it' s going to say the buffix.
40:43
Well, they filled up more. Someone misfilled a form you understand from another
40:49
country and of those you have a thousand more serious, less serious, more
40:54
ideological, less ideological. There are a lot of things that can happen at
40:59
a festival that you say about I don' t know. Let' s
41:01
say, for example, the Mar del Plata Festival, which I know is
41:05
happening well. Montenegro' s statements seem to me not even to understand what
41:10
it wanted to provoke or not capable layer, which is an error of expression.
41:16
But as he said, it doesn' t make any sense Mar de
41:22
Plata Festival. Netflix. No. In any case, Netflix can be a
41:24
sponsor, just as Loreal is a historical sponsor of the Berlinale, yes,
41:30
and a lot of other sponsors, which I think Audi is also an aspirant
41:35
of the saloons and the number of sponsors Khan has there are plenty of sponsors,
41:38
but now Netflix sounds aesthetic of Netflix, and that' s where the
41:45
sponsor has to be understood as a sponsor and not as a hegemony over no,
41:53
because it would also be an aesthetic hegemony. I' m going to
41:57
try to think in a super- well- meaning way and I don'
42:04
t think I meant that. I don' t think it' s perhaps
42:07
a difficulty in declaring no. Finally, on Saturday twenty there will be a
42:12
table at which, according to the official announcement, it will be sought to
42:19
analyze, think and generate questions about the current situation of Argentine cinema, with
42:23
the presence of directors of the Argentine competition, about which you will be moderator
42:30
of that table, what will be the axis or axes on good. It
42:34
also says that in the summary and it says production, distribution and exhibition,
42:42
always in things I like to organize. We have to talk to me about
42:45
the three spheres of film economy, because if we can continue to increase the
42:51
production of films, which has to be two hundred billion, well, but
42:55
how do we distribute and that reaches the whole audience, which has to arrive,
42:59
because there are many Argentine films. I' d tell you that most
43:01
of the Argentine films, which at least are left in the UFF, all
43:08
deserve more audience. They all deserve not to be a success just in the
43:12
office. Yeah, and then that also needs to be thought about the screens
43:22
where these productions connect with the audience exactly good. The twenty- fifth Vaffisi
43:29
then is already underway and will continue until Sunday twenty- eight with more than
43:37
five hundred performances in thirteen theaters and one hundred and forty Argentine productions, among
43:43
which there are sixty- five pre- release feature films. The Buenos Aires
43:47
International Film Festival, the most important in the region, has already made Javier
43:52
Portafuz walk. Thank you so much for this contact and good for the best
44:00
in this new edition of the Baffis, and thank you for coming with us
44:04
July. Until then they were good times, as we felt such beautiful geniuses.
44:27
But the passage of time Paulito rite is inevitable. They say you pushed
44:34
Raulito down the balcony. Son of a bitch, cut it out,'
44:40
cause I' m gonna take it all. It' s too late for
44:47
us. I don' t know where the fuck oscar bargot is like I
44:54
' ve forgotten everything back, because I was painting how to find something.
45:01
It says something, it turns me into a freak that I can' t
45:10
paint anymore. I have to ask you a question. You want to know
45:15
if she' s your daughter. I know all my life. Morgoldo is
45:20
dead. You did well the fuck out of the other night. Smart son
45:23
fell alone and the troll you left me in the trunk of the car,
45:29
however, was my friend. He' s dead. This kids with tips
45:31
and how they fit the pieces together, fabulous locus. One last can believe
45:39
Valen Vladimir, a film by Martin Rionic with Daniel Araoz, Carlos Belloso,
45:53
Marcelo Melingo and cast Vladimir in Salas 11 April. Marcelo Melingo is co-
46:09
star of the psychological thriller Vladimir, with script and direction by Martín Rushnick,
46:16
who tomorrow enters his second week of exhibition at the Gomont cinema and in theaters
46:22
across the country. The film follows the story of a group of plastic artists
46:27
who enjoy life and fun in the artist Vladimir' s atelier, until a
46:34
tragedy leads him to immerse himself in a dark journey of rediscovery. We'
46:45
re with Marcelo Melingo. It is a pleasure to welcome you to Gps SE
46:49
Audiovisual Radio. Marcelo can hear me if we' re listening perfectly well.
46:55
Thank you very much. Hey, good. How Pladimin is a very important
47:01
bet on Argentine cinema, independent of author cinema and genres. What excited you
47:09
to decide, accept and incorporate into this project Fundamentally the script in principle,
47:22
is a world that interests me. The one with the creatives. Let'
47:34
s say saying artists is a pretty big word, but in this case because
47:39
of the trips that happens to the protagonist or even his friends, all broken.
47:47
It is an interesting world to explore and not too far away, also
47:52
that we have actors and musicians, those who are dedicated to putting all the
48:02
spirit and body to poetry, to live a life in full, not just
48:10
work or money, to be connected with many other things that they require for
48:19
creativity, for art and to explore the world and explore what that means for
48:27
someone who also has to live, because we also have to eat and we
48:31
have to pay an account or I don' t tell you. Today then
48:40
it is also interesting to see what threads are costing behind the kitchen, creativity
48:49
and to be able to be in the system at the same time and you
48:54
how you came to Martin Rsnick' s project and how it is working with
49:00
him. How good it was with Martin we had was trying to remember how
49:10
he spoke to me when he spoke to me, but he called me.
49:15
I don' t remember, maybe he' ll show me, but he
49:20
calls me and tells me this project. You also tell me that he is
49:25
a plastic artist. Yes, and we' re just talking about this a
49:32
little bit because the plot is somehow beyond being able to make some kind of
49:36
alter ego out of it or something that' s also inspired in its times,
49:45
which it has managed to carry along with the painting, but at the
49:49
same time because it showed me at that time that the project proposes to me
49:53
sends me two films that I had made before. So we got into that,
50:00
in that dynamic of talking a little bit about what I was telling them
50:05
earlier than what it is, especially when it tells me about my character,
50:07
who is the b Marchang, is the painter' s agent, let'
50:17
s say the project explains to me this situation that I have to bring to
50:22
the film, which is the bridge over the system that asks to sell for
50:29
more creative, crazier, for more than all that is the world that explores.
50:30
The film has to be contained in the system, because if there is
50:37
no conflict. Let' s be clear, the system asks Vladimir to be
50:46
creative, to be inspired, to be able to carry out his work and
50:52
to have that work interest and sell. And you tell me when they apologize
50:57
so they can answer what you asked me about Martin, the director. When
51:01
he tells me all that, they put me in cars. Let' s
51:07
say what role I had to play based on the script that when I read
51:12
it I thought I had everything, that I had a whole thing also interesting
51:16
police. It is not police, but it is like a thriller where there
51:24
are things happening that are out of the law and and the whole environment is
51:32
also interesting, because although it is the whole environment of the painter where they
51:37
are accompanied by their muses, their friends at late night parties or fucks,
51:46
so where you can also find the whole way out of what artists are.
51:50
Let' s say things happen there and I thought it was very interesting what
51:59
I was raising there now to build this character from the Marshan. Let'
52:06
s say you had previous elements beyond the conversation with Martin, with the director,
52:12
you had knowledge of this world. You had to come closer to investigate
52:17
a little bit more Look at the truth that plastic always interested me. I
52:24
' ve even met people I know, let' s say, I have
52:31
a relationship with people who paint then I already had some way, some references
52:38
and I' ve even been buying some other work that I' ve been
52:44
sold, sold it to me on the go. I had had dealings with
52:46
people who somehow expose or sell exposure, as it is said to be weapon
52:57
exhibitions. Let' s say this and it' s a bit too.
53:04
Let' s say it was interesting from the role that is also how I
53:10
work has nothing to do with something external. It has to do with something
53:14
that I can contribute from my role of who I am, with what I
53:20
bring, with my suitcase what you have to play on the court. Let
53:25
' s say the role, that there is to be brought into the game.
53:29
So let' s say somehow I understood what there was, that you
53:35
had to play with this trap, with this script. And yes, a
53:37
little the exterior, the aesthetic, nothing more. This is very well lauded
53:42
by costumes. Yeah, this costume is Carla' s I' ll give
53:47
you exactly after if we can figure it out, since I don' t
53:51
give you the full name. Makes one look for him. It' s
53:54
a good job the locker room was made because of some of you who saw
54:00
the movie. Yeah. Yeah, yeah? Yeah? Yeah? Yeah?
54:04
That' s why I say there' s a very good job. Yes,
54:06
yes, among other aspects of the film, the artistic aspect of the
54:12
film. Yeah, I think he' s got a chance. The photo
54:15
is also very interesting. That' s very good. Yeah, yeah,
54:21
there' s the aesthetics of the movie It' s really pretty. It
54:24
' s very interesting. Now I just wanted to ask you. This is
54:30
what you were just telling me about you working from your toolbox. You couldn
54:36
' t say what. You thought it was more important that I contributed more
54:44
to defining this character that you play. What was your personal steam in that
54:52
sense? To me when, as an actor what happens to me, when
54:55
I read a script, I understand as if it were a game, as
55:01
if it were a game. What are the rules, who play, what
55:06
is the game about, what is the ball to where the goal is then
55:12
put and how they play all that on the court. Then I try to
55:21
identify what game I have to do, what I have to contribute to that
55:25
I don' t have to take where it' s up to me to
55:30
take the ball, how much I take it, where I have to put
55:35
the goal, who, where you have to make a bowling pass, etcetera.
55:37
No. Then it seemed to me that in this game what I was
55:45
proposing is how I told you a bridge, made a strong system. I
55:49
had to prove somehow that this guy dressed well and rubbed elbows and somehow knew
55:54
about transactions. The market aspect of this story yes, yes, of course,
56:07
it is fine, no, but it never occurred to me to think
56:09
of the word market. But yes, customers, of course, who might
56:19
be interested in this, how it is sold, how much it is sold,
56:25
why there is no production. Let' s say and when I see
56:30
that in the film what happens without the role sees what happens, that there
56:36
is something that happens, that you say there is a tragedy or there is
56:38
something that means everything. And I don' t want to spoil anything.
56:45
No, no, it doesn' t change the thing. So when there
56:49
' s production, when it' s prolific, what' s going on
56:53
somehow. That' s what I' m trying to put on something personal.
56:58
Let' s say that here or he' s already happier, he
57:04
' s more in his width and enriching history, enriching history. Marcelo,
57:13
Marcelo, yes, the role of mine, the accompanied Daniel Araoz, who
57:19
was no more than pleasure to do that forgive me that I think there is
57:23
for you. Yeah, yeah, yeah. Okay. I thank you very
57:29
much for this contact, this brief, very brief advance without Vladimir' s
57:36
spoiler. We remember then that this psychological thriller presents itself is in its second
57:42
week of exhibition at the Gomont cinema and in theaters all over the country.
57:45
Thank you so much for joining us and well, with this note we are
57:52
closing today' s broadcast of GPS audiovisual Radio. Thanks for joining us.
57:59
And you know, as we always say, but today more than ever they
58:05
see Argentine cinema until next Wednesday. This was GPS audio- visual radio.
58:30
We' ll be waiting for you next Wednesday at 19 o' clock on
58:36
the radio. Thirty- three chapters