Latest / GPS Audiovisual / GPS Audiovisual T05 P10

Transcript

GPS Audiovisual T05 P10 · GPS Audiovisual

0:07
PS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
0:15
In Julia Montesoro' s eyes, a treasure, a program with a gender
0:19
perspective that nucleates the country' s film industry. Argentine cinema will never be
0:46
the one it is until now. We, from GPS Audiovisual, strive for
0:54
an Argentine cinema, for an accessible culture, plural diverse, for a cinema
1:03
that identifies us all, that reflects us and for a culture that has the
1:11
support of the State to continue and for the development of all Argentines. This
1:19
is GPS Audiovisual Radio. Welcome to Norberto chap' s journalistic production and driving
1:25
by Julia Montesoro. Guillermo Fennin is the co- star of the impacted the
1:36
drama directed by Lucía Puenzo with Mariana de Girolamo Germán, palaces osmar Núñez and
1:42
Moor An Gilleri, among others, that addresses a rare topic as it can
1:49
in what way the impact of lightning can impact in this case, not on
1:57
a person, not only in the Fijossi, especially in the emotional. We
2:05
' re here at the radio studio train topic, on GPS audio- visual
2:10
radio with Guillermo Fening. Welcome and thank you so much for being with us.
2:15
Williams good, good afternoon, good evening to all. Well, the
2:21
hit ones. It tells a story that can square as in various forms in
2:30
different genres. It can be for fantastic moments, it has some documentary,
2:37
it has something here was Lucia Puense even said it could be a superhero movie.
2:43
It' s a love drama of all those readings with which you stay,
2:49
William, I think it' s a yes. He' s getting
2:54
closer to fantastic realism. I' d like to think about it that way,
3:01
but I think the interesting thing about the film is two things and like
3:06
two branches, yes, the protagonist is struck by lightning and that generates a
3:12
lot of physical consequences, whether it' s visual sounds, even her sexual
3:19
appetite changes becomes more voracious. But also not only does the film talk about
3:24
that, but it talks about how one reconfigures in terms of his past and
3:28
the things that happened to him. The protagonist suffers from a very big girl
3:31
trauma and what' s wrong with her. And it can be lightning,
3:38
but it can be an accident, it can be someone' s death,
3:42
it can be whatever it is that you in life reconfigure it. I think
3:45
the film talks a lot about it for me, about how before we end
3:49
situation, shocking we don' t have to reconfigure and we' re no
3:58
longer the same now you. At some point you felt good, symbolically speaking,
4:02
not pierced by lightning that made you reconfigure your path. Yeah, yeah,
4:11
yeah, okay. I had a pretty traumatic situation, which is suicide
4:15
my mother and I found my mom dead then that was really like a me
4:20
look now that I remember it, it was like an electricity in the body
4:24
when I saw what I saw and at the same time it was a release
4:28
for my mom. He was a person who was already struggling a lot with
4:31
life and with a very fucked- up psychiatric illness. Then I was looking
4:34
after her then and I was young, very young, to take care of
4:39
so much. Then, at that moment I was reconfigured, but not to
4:43
one distressing side, but to one side of liberation. You ask me,
4:50
I answer you, no good, perfect, but I say the movie has
4:56
that reading too. Totally this one ended up that well, well it can
5:00
be seen as this we said, not a fantastic tale at times, a
5:08
loving drama. But deep down and very deeply, he talks about this,
5:14
not how to reconfigure ourselves in life. Yes, yes, I think it
5:18
' s a very very human film, which talks about experience, feelings.
5:26
I don' t know what that genre would look like. I really think
5:28
why? Because all the movies. In reality, all films are always traversed
5:32
also for a loving conflict. It seems to me that the love conflict here
5:36
is not. It seems to me that what really happens to the person has
5:40
to do with this character has to do with his reconfiguration and with his past
5:44
and how else he will decide to live now. Anyway, we also attended
5:48
a person in a very traumatic state, very shocked still by what happened to
5:53
him then all that is a movie that you see good sometimes in the cinema,
6:00
for example, and suddenly you' re inside one that you don'
6:02
t know well where it will end, because the sound wraps you and suddenly
6:05
she puts the uros, plugs in and makes a small noise that isn'
6:10
t that it' s already and all the people jumped in the room because
6:13
you' re so inside the movie. The film takes you, immerses you
6:16
in images and sound with an incredible technical bill, as always work the Puensos
6:23
Lucia Poenso and his brothers that the truth nothing. I, when I saw
6:29
her there, was grateful that we' re releasing this movie right now.
6:32
Good, too. The cinema of Lucía Puenso is never comfortable and the characters
6:43
also have complex edges to build it. For an actor, for an actress,
6:51
it' s a job, a powerful challenge. In the case of
6:57
Jano, your character, who is the husband of this protagonist, who does
7:00
not understand very well what is happening to her partner. You how you worked
7:09
this, from where I have always recorded the joke to Lucía that when we
7:14
are going to make a romantic comedy, because always and I also tell her
7:20
she go two films in which they put my horns, I say the next
7:24
one, I piro metro me and it is always Germán palacesothers, because in
7:30
Chromo also fooled me and also I hano imagined it. I also tell the
7:40
story begins with her fifteen days ago my partner, who is in hospital sleeping
7:44
in a hospital, and I imagined that those fifteen days I was there in
7:46
that room. Then I started putting the character together with a bad asleep guy,
7:50
in a bit emaciated at first, like with a heaviness that didn'
7:57
t know what was going to happen to his wife. It' s like
8:01
he' s, like, a good guy, a guy who' s
8:03
very leaning on his partner and a half that if he was done with that,
8:09
he was really gonna have to reconfigure, too, so I put it
8:16
together from there and then there was something that was a little bit warm,
8:16
too. He as far as he let himself, at least let himself be
8:18
bribed by his partner' s father. Well, for certain things that happen
8:22
in the movie and at the same time she wants to know what' s
8:28
happening to her, then she tries to insist on something where she' s
8:33
not watching it. He is, as he is, a very ungrateful character,
8:37
also because you saw. He' s a character with good intentions,
8:41
but there' s nothing on the other side now, that is, the
8:43
person who was on the other side is gone. He does not know that
8:46
person and that person does not know him. So, well, if you
8:50
want to accompany, but you know very well, very well how, how
8:56
exactly this is the major conflict of Faraway. It' s not true of
9:01
that character and you what attracted you to the proposal. It brings me here
9:07
as long as Lucia calls me to work. I always know it' s
9:13
a good, incredible adventure, that I always know that it' s beyond
9:18
that obvious that I gave him the script and I gave him the script and
9:20
I said yes, I told him they' re going to horn me again
9:22
for the second time. But, okay, we don' t and in
9:28
this case we film here very close, but whenever Lucia invites you to work
9:31
on her projects, you travel to Argentina and you go to a lot of
9:35
amazing places. Well, in this case it was here in Gaynor, which
9:39
is a town here in the province of Buenos Aires, in a field and
9:46
the truth that attracted me to return to work with Germán, with Mariano and
9:50
Jirolamo, who had seen her in Emma, that I told her the film.
9:52
I didn' t like it, but I liked you. You'
9:56
re an amazing actress. Yes, yes, it' s very good Mariana
10:00
and good and after you know it' s a film that also has an
10:03
international projection that is also going to be seen on platforms. We were at
10:05
the San Sebastián Festival, a festival I didn' t know, which I
10:11
loved meeting friends, and cinema is part of as a family. Lucia also
10:13
works in a very familiar way and her people are repeating themselves on all teams.
10:18
I could do it. I was here in Buenos Aires, let'
10:22
s do it all, there was everything and what you knew about lightning until
10:26
you got this story. Well, I didn' t know much, I
10:31
mean a lot. I found out about things I couldn' t believe,
10:33
like it' s very likely that lightning struck you once, impacted you twice
10:37
because of the burden you have left on your body. I did know some
10:43
things that are sensitized at the auditory level sensoryly, but not much more.
10:48
I love lightning, I love storms. I am such a person of rain,
10:52
of days of rain and storm. I like it. I am not
10:56
to marry to go out and hunt lightning, but if I like it the
11:00
same in storms, I stay in the street, because I have you alone
11:03
in the trees. I' ve even seen trees falling in the city of
11:09
Buenos Aires by day without wind, so imagine with wind, so my fear
11:13
is the trees, the rays. Aha well you were born in Marco Juárez,
11:18
in the province of Córdoba, which is an eminently agricultural, soy farming,
11:24
flat, pampa, humid place. Yes, and this character you make
11:30
has a lot of knowledge. You brought that knowledge to work this character,
11:37
because you really see yourself on the screen at times. I made this kind
11:41
of outlaw out of the field. He lived in the country all his life.
11:46
He knows how to milk cows. Sure, not good. I'
11:50
ve had contact in the field, not from my close family and cousins that
11:56
I' ve gone from Chico, I' ve gone to friendly fields.
11:58
I really like the country. I like animals much more than people do.
12:03
Then I love animals. Then we went with Lucía two days to prepare and
12:11
there to be with the calves and all the animals when they are babies and
12:16
the big ones too and to enter the tamboo, which is not a situation
12:22
for an idyllic, because suddenly you shit in the face cows Here it is
12:26
simple. Then nothing. The field I like, has something, a mystic
12:31
and an even smell that I like and it seems familiar to me, but
12:37
I didn' t know anything about ordinating a cow, for example, I
12:41
had once ordered hand, but here it is with all this industrialized. Yes,
12:46
yes, it' s very macabre, also how the cows suffer,
12:50
of course, how the udders leave it, all clear, very sad,
12:54
well, but you had to overcome all that too, because this man who
12:58
loves yes, yes, of course, passes all those clear questions, of
13:03
course, at that moment no, but then you suffer there now, well,
13:09
you work in cinema and you made the step to the series. This,
13:15
too, is already as definitive. Let' s say you' re
13:20
more attracted to the world of series. No, not the movie one.
13:22
No. Not at all, because you even worked in Spain. Yeah,
13:26
yeah, yeah, no. At one point it seems that the show was
13:31
what the world was going to eat. I don' t know now.
13:33
Now I don' t think it' s going to be a show or
13:35
a movie. A while. What are we gonna do, Julia, what
13:39
are we gonna do, I don' t know, we' re not
13:43
all asking. We' re not doing a finance program. I don'
13:46
t know why we' re not going to finish, well, but the
13:50
thing is that in Pandemia the platforms exploded and well, there was a lot
13:54
of work. I was lucky enough to make that movie with Julia Solo Monov,
13:56
which was what landed me in Spain, because no one is watching us.
14:01
It was co- produced by Isabel Colchette and you know when she saw
14:07
the movie, she told Julia, she asked for my phone, and she
14:11
says I want this kid to be a forgiving, good fullop, and all
14:13
of a sudden, no casting, nothing. I found myself working with her
14:16
and with the Gran Liya Costa in Spain and from that came out a series,
14:22
a film that I made with Mario Casas and then I made two seasons.
14:30
Welcome to Eden and well, nothing one is where an actor is,
14:35
where, I mean, he' s choosing and he' s going to
14:39
see what he' s doing. But it seems to me that both the
14:43
series and the cinema have very powerful tools to tell stories and you were brought
14:50
to a wider audience, I would say, no yes, more international.
14:56
Also yes, yes, yes, it may be, it may be yes
15:01
foody was seen and seen all over the world. The two series were seen
15:03
all over the world. It is very funny to enter the platforms and to
15:07
be bent in Italian Arabic, in German, in a clearing. I have
15:11
fun watching that and how you look. No, they don' t change
15:18
much, I don' t know you' ve always seen another language.
15:20
How you feel they' re acting better. And the actors I say I
15:22
watch Korean cinema and I stay like this and they' re acting bad around
15:26
there. You don' t know how to pepe it all sounds like you
15:30
saw it, like it' s okay. Yeah, then I see someone
15:31
acting in Argentina and I say this shoe, but any Korean Korean seems to
15:37
me to be doing well. And now, well, what are your steps.
15:41
There' s also the director' s debut. I didn' t
15:46
make the debut eating with caito is for cousin I made of my brother and
15:50
now it would be my second film. I told him we were good at
15:54
nothing like me now. It seems that we now have a Spanish producer and
15:58
a Mexican and so it seems that we can film it most of the interiors
16:03
in Spain and the exteriors here. But the truth is that with Cecilia Roz,
16:07
not Cecilia Rot we' re there working and following, applying and collecting
16:11
the money still to make it. It is a film that addresses the issue
16:15
of aesthetic surgeries and how this system pushes everyone beyond women and also actresses to
16:21
stay young and beautiful. Always somehow reflect on that and a couple more things.
16:27
But that' s like the main axis, and now it' s
16:34
possible that it' s expensive this year. That project next year would be
16:37
the idea of filming one part in Spain and another part here, the smallest
16:44
part here. Sure, he realizes the equation. Another thing is not going
16:48
to be clear. Sure, sure, yes, and you have some proposal
16:56
for I have proposals that are still there very much in the o. We
17:00
' ll see for a bit about everything that' s going on here and
17:04
a proposal outside that well, it has to grow up a little bit.
17:11
But like a lot of others, I say it said good if you are
17:18
with little work, that is, I imagine how we will be, because
17:22
I always the truth in the last fifteen years I worked very hard and and
17:26
the truth of my circle I am always the one who works the most and
17:30
I say now it stopped a lot to me, the offers, the readings,
17:33
the ions, the work and I know many people who are in the
17:36
same situation. People I am great actors, or bigger also here in Argentina.
17:41
Specifically yes in Argentina and something is happening that Spain, for example,
17:47
closed quite, closed quite to the foreigners brought out a law of quota,
17:52
that has to be that it was but they did not respect it, that
17:53
now they are making it respect then that neither moves the rod much. But
18:00
I say in a moment it seems they don' t want any more Argentines.
18:03
For now, well, the world is getting difficult for everyone. Guillermos
18:11
Fening, thank you very much for accompanying us for this presence here in GPS
18:18
audiovisual, Radio and for this co- starring in the impacted that really of
18:23
a very good film, is highly recommended. Well, Julia, thank you
18:26
so much and thank you all for what you always do for saying. We
18:30
' re still on radio audio- visual GPS. That' s me when
18:41
I was ten and that' s in my neighborhood where the story is born.
18:48
What do I want to tell you? Here' s a stage that
18:51
ends. I see it changed since you left life gives and you' re
18:59
fart. It' s my dog, that leave them here You' re
19:04
going to change school Juan, and the less we cross paths. For him
19:07
and for everyone. They look at the whole movement, at what time I
19:11
left and how many are the family all moved and they' re going to
19:15
have the stick. So something also sir has me and I' m capacitated
19:27
yes. That' s why they don' t know the wall in a
19:36
row they' re gonna notice or what' s going on. He'
19:38
s not gonna see my house Vale' s the lowest guy. Te Ve
19:41
Corretolo p Records on the last day of your childhood. We invite you to
19:52
travel in time, because we take you right there accompanying Nico on the way
19:56
to his maturity in a neighborhood thriller in between, a film by Martin Gamaler,
20:03
simultaneous premiere in the cinema comnt and in cinema rocha a la plata from
20:07
the 15th of February, every day, twenty- thirty hours we also find
20:12
ourselves in in instagram Arroba between half point the film. We would have liked
20:19
to know what was the last day of our childhood. Mexican Pedro de Tavira,
20:29
co protagonist with Juana Viale the black comedy human resources, a co-
20:36
production between prism cinema of Córdoba and surviving films of Mexico that is exhibited in
20:41
its second week in about twenty theaters of nine Argentine provinces. A worker alienated
20:51
and tired of pergenious routine, a plan to attack his superior affluents that between
20:59
loves and affairs, leaves his hands and then a series of questions occur that
21:07
better see them on the screen. There, in the cinemas human resources.
21:15
We are in communication with Pedro de Tavira, who is in Mexico and is
21:21
the co- star of this film. Pleased to be with us, to
21:27
receive you here on GPS audiovisual radio How are you, Pedro Hello Hello.
21:33
Thank you very much, thank you for the space. They hear me well,
21:36
if we hear you perfect, we hear you perfect, what you found
21:41
in this black comedy that excited you to accept this good role. First of
21:48
all, the novel, the novel by Antonio Ortuño, from which this script
21:51
by Jesús Baraña is based, which I think is a good way, a
22:00
black humor, very acidic, to make a critique of the system, not
22:07
only political and economic, but also how that prevails in us as people,
22:11
how it has made us consumed to the extreme, dissatisfied with power struggles even
22:21
the smallest loopholes. And then I think that the Human Resources Office becomes a
22:26
kind of microcosm of society in terms of wanting, wanting to have more,
22:34
because we understand that having more power, aquisitive is going to be someone in
22:41
life. We are nothing more than being told a little bit by the characters
22:48
mocking that they are ordinary like their clothes, unless they have elegant clothes,
22:53
which they do not have to remove the label to say that it is a
22:56
cheap brand will be someone until they have a decent shirt, even when they
23:06
have a chance to order a wine at the bar and cheap beer. Then
23:10
you' ll be someone clear that it' s a bit of a society
23:15
that we live in today where, in delf oracle, it' s now
23:18
the ATM. Sure enter if you see using it and from your use,
23:22
you know who you are or, what you are clear, yes, yes,
23:26
or how you can behave, no, what to simulate. It'
23:33
s a society of simulations, not your character. Gabriel Lynch is an antihero
23:38
who becomes a psychopath. In short, it can totally be understood as a
23:48
reading. This thing you were talking about earlier, a portrait of Mexican society
23:52
itself. I believe it is the society that lives under this capitalist, neoliberal
24:00
consumerist system. It can happen in Mexico as it can happen in Argentina,
24:07
Colombia, the United States, Germany whatever. In fact, that was also
24:12
a bit of co- production with Argentina and then having a cast that was
24:19
mixed between Argentines from Cordoba, there was a need to ask where we are
24:27
going to raise this novel. I say this movie. The novel is not
24:33
even posed exactly in Mexico City, but it is Guadalajara, or it is
24:37
intuited that it is Guadalajara, which is a capital in a province here in
24:40
Mexico, and suddenly we realized that there was no need, that we could
24:45
be Argentines, Mexican Cordobas, Colombians, wherever it was from. What the
24:52
film talks about doesn' t matter, no matter where you were born or
24:56
what accent they have famous globalization, no yes, I say totally, totally
25:06
in every sense. Now, a part of human resources was shot here,
25:11
in Cordoba, in Argentina. What enriched you from that stage of filming.
25:19
Well, for starters, it was the whole shooting of the movie of what
25:22
was done there. And good for starters, Córdoba is a very beautiful city,
25:27
a very warm people, very affectionate, what I feel was the greatest
25:34
success of doing so is that we find a group of people who are extremely
25:40
capable, extremely professional, who are up to any cru of filming in which
25:48
I have been able to work on the first level and, at the same
25:56
time, was a small group of people. Then we became very easy team.
26:03
The Mexican corrovés combination was very good and, in addition, the first
26:11
week filming was all the sequences that are inside the offices. So that helped
26:15
a lot for the pace of work to include and be understood without tending well
26:21
instead of everyone on the team. But above all, very surprised by the
26:26
human warmth and good, not surprised by the technical quality they have, because
26:30
that is known from when one sees any movie in Argentine cinema. The truth,
26:36
very happy, very happy that it was there. If it had been
26:37
here in Mexico, it would have happened like one more movie. I don
26:41
' t know how we would explain clearly by the characteristics of the place of
26:49
cis of the people being for us Mexicans to go to a place outside or
26:57
when it' s your turn to shoot a place that isn' t your
27:03
house, your city, you lock yourself in more at work, you evoke
27:07
yourself more at work and you live everything is a journey and I think that
27:12
helped a lot that, at least the Mexican actors, that although we knew
27:21
each other, we had not worked together any, then we could make team
27:23
community very easy. Well, that goes through the movie somehow. Now with
27:29
the film already premiered in Mexico and Argentina, What do you realize that you
27:36
hadn' t noticed before, let' s say from the reactions of the
27:44
audience, because one, whenever you make some kind of comedy or inspire comedy,
27:49
is always afraid that people can laugh or can' t find the joke.
27:56
And, well, here in Mexico they laughed a lot here, in
28:00
Mexico people who work in offices oratorically are called bodines. So we said it
28:07
' s the bodine community of clerks. In Mexico it was very well reflected
28:14
in the film. It was possible to identify well and I was surprised that
28:18
I was also afraidcons premiered in Argentina that it would not have been a very
28:22
Mexican film. I know how to talk in the way of a joke,
28:26
and I don' t think so. I think that even the star function,
28:30
which was the one I witnessed in Cordoba, I had the sensations that
28:33
laughed the most what was served here in Mexico. Then I want to think
28:38
it works that way. Good pedro of this life, protagonist of the black
28:44
comedy of human resources directed by Jesús Magania Vázquez, which is exhibited in halls
28:51
throughout the country. Thank you so much for joining us I send you a
28:59
hug to Mexico, where you are saying here from Buenos Aires. Thank you,
29:03
We thank you, Thank you for your time and I hope I can
29:06
return to the beautiful one of Buenos Aires. We' re waiting for you
29:10
on audiovisual GPS. Radio. This is the story of my hatred. Well,
29:18
I' m his printing permit. That' s how Manager' s
29:22
Square was recently released and I applied for it. The new resources are years.
29:29
It looks like it' s going to be a big deal of mine
29:33
for everyone in there because he' s the son of I don' t
29:37
know who, because she' s a pretty obvious daughter that they' re
29:40
going to put a lot of fairness in him. Neither you nor I had
29:41
a chance. We weren' t in the eternal for the job. It
29:45
' s no longer important for your husband to be a brother who' s
29:49
the most popular in the world. This is a cut company and something I
29:56
have to be wrong with. Hang in here, you gotta fly. One
30:06
looked like a tristitan, less others saw how we terns You and we are
30:11
already a goal not a rush to revolution. They' re special like us.
30:18
Don' t do anything. I don' t have a paruritious plan,
30:23
I have a clau type. He' s been bombed by a car.
30:26
I am Now there are two types of people, this two which is
30:41
you. Marcio Migliorici is the head of international affairs of the Cinematographic and Visual
30:59
Audio Agency of Uruguay AKO, in charge of promoting and positioning Uruguayan audiovisual content
31:07
internationally. We are with Marcio Migliorici based on the intense activity of Laku,
31:15
which continues to promote the Uruguay audiovisual program, the support of films in festivals
31:22
and the development of new fields at the international level. Hi, Marcio,
31:27
how are you? Welcome Hi, how are you doing? Thank you very
31:33
much or cars two on your show. It' s a great pleasure.
31:37
Nice one, too. The Aku has been formed for a year and in
31:42
this brief period it launched ambitious promotion plans that incorporate the concept of cash revenge
31:55
is just as an incentive. What are the lines of encouragement, that you
32:00
are working, that are working and what advantages offer from the COU. Well,
32:07
in what is black COU, there are two sources of funding that it
32:14
administers from COU. One is the Promotion Fund, which is a fund that
32:17
is competitive and that awards prizes to the different stages of what is armed,
32:23
we can say, the audiovisual project from development to what is obviously production,
32:30
post production, promotion, positioning. And we also have what is the Uruguayan
32:38
audiovisual program, as you said well Cuba for us, which is from the
32:43
two thousand nineteen, which started with three million as bags in itself to allocate
32:47
in case Bates, continued with five, with seven and today I am with
32:52
twelve million, which shows the great growth since two thousand nineteen. On this
32:57
side and previously simply, the Uruguay Visual program, which has been a great
33:01
tool for the growth of activity in Uruguay, has two columns and we mean
33:07
two lines of support, one for the production service and another for the co
33:12
- production. Now, it became an appreciated place for Argentine producers and filmmakers
33:21
for reasons ranging from financial and legal security to cost optimisation. During this year
33:30
of management, more consultations are observed on the possibilities of co- production on
33:42
projects. In this sense, I say of the work they are doing.
33:49
If the truth is that growth is constant and from Argentina, for example,
33:53
we have more and more consultations that goes from projects to what is being is
34:00
to open companies in Uruguay, yes, and work from Uruguay towards other countries,
34:05
which goes beyond Argentina. This is happening on the part of countries in
34:08
the region and even from Europe, which wants to work not only for Uruguay,
34:14
but from Uruguay to other countries. And that goes hand in hand,
34:17
as we said in the Uruguayadio Visual program, that the bata case line told
34:22
you the service of production of up to twenty- five percent of evolution co
34:29
production of casomet is twenty to eighty percent and to the two of us that
34:34
we do not charge the tax on consumption the bat that is zero, then,
34:38
on that side, is clear the incentive, more obviously, the great
34:42
benefit of the stability of Uruguay, that is what the investments seek. Of
34:46
course, of course, this and this percentage from 20 to 80 percent varies
34:52
according to the type of production, the magnitude of the production. That,
34:58
in fact, goes hand in hand with the eligible categories of spending. If
35:04
you with your producers, being Argentina co- produced with Uruguay, it is
35:07
a local partner, if you already have assured sixty percent of the funding,
35:13
which is one of the requirements to prove that it is a serious project,
35:16
as for the State to invest you introduce yourself to the four and then you
35:22
present your plan of what you will be spending the money on. It has
35:24
to be eligible categories in the sense that well, obviously, money is not
35:28
going to be to buy a house, as it is an audiovisual project.
35:31
But in the categories we mean that the closer the expenditure, that is the
35:37
category to the audiovisual activity, if you hire a photo director, for example,
35:42
the closer it is to 80%. If you hire transportation or lodging,
35:46
which is clearly necessary, but not so directly related by audiovisual, it
35:52
gets closer to twenty. The idea of that rank is to encourage that you
35:57
spend in the closest to audiovisual activity and get an average of about forty percent
36:00
and, if you are a humer, that you don' t pay the
36:05
bad VAT tax, which is twenty- two in Uruguay, that is,
36:09
you' re saving twenty- two percent more, maybe forty, if that
36:15
' s a lot, it' s symphony. It' s very important.
36:17
Exactly yes above all for production costs. Not good, in these days
36:23
that the Malaga Festival is taking place are presented four Argentine co- productions Uruguayan
36:31
shipwrecks and the lands that compete in the official section plus a blue bird and
36:38
like the sea what valuation you make of this joint work and to what extent
36:44
ACAU can contribute to increase these co- productions. Good to give you the
36:50
reference I' m now at the Malaga Festival. Ah, look at just
36:54
accompanying these titles. And also, on the other hand, there is a
37:00
Uruguayan majority film at the level between the two documentary that is also competing.
37:04
In other words, there are several Uruguayan titles in different capacities. Majority,
37:07
Majority And what we say is welcome to the majority or minority co- productions,
37:15
in which we can participate and learn and make us more agile, more
37:22
intelligent in the experience with others and grow projects. And Argentina. Well,
37:29
we always want to work. In other words, the talent of Argentina is
37:32
indisputable. I mean, it' s an impressive thing and, on that
37:37
side, I think that there is also, naturally, the work among Uruguayans
37:39
Argentina, by idiosyncrasy, by ties, by the ease of connection organically through
37:45
stories. Yeah, definitely good. In the last edition of Ventana Sur,
37:53
a protocol on series was signed with INCA, with the National Institute of Film
37:59
and Audiovisual Art. What it consists of and how you think it follows the
38:06
validity of that agreement, well, I have to think about the constructions of
38:12
what it is, the institutional bonds go beyond sometimes the circumstantial of the people
38:17
who are or are and the decisions, that is. The idea is to
38:21
create institutions and agreements that continue and, as I told you with Argentina,
38:27
it is organic to work and it was necessary to have on the side of
38:32
the series that possibility, of that bridge And we believe that good that the
38:37
times, as if we know, are advancing in different modalities, that this
38:45
agreement is, is signed, that is, the will was expressed as such.
38:47
Then there are the circumstances that make it possible to implement it as soon
38:53
as possible. But the agreement, in our opinion, is that it demonstrates
39:00
that intention and that producers can talk to them and, obviously, that they
39:05
celebrate it, because it consists of the possibility of facilitating not productions and,
39:10
moreover, supporting them economically, that this is something that already co- productions
39:16
at the level of television ceris, in different measures, were already taking place.
39:21
We' ve been resolving. We are simply going a little behind what
39:25
is happening among producers, trying to accompany them in their initiatives in a certain
39:36
way by marking the way. So it is good and what are, lastly,
39:40
the objectives in this two thousand twenty- four in international affairs and for
39:50
us it is always, that is, opening up opportunities in different fields.
39:54
We are trying to consolidate relations with Europe and create opportunities. That is why
40:00
we have just signed the agreement with Spain on co- production. We also
40:07
sign a partnership agreement with the United Kingdom. In the United Kingdom it is
40:12
an interesting example because it does not sign these agreements. But in this case
40:15
he decided to sign with Uruguay because again it is like a gateway, thanks
40:20
to its stability, to work with the region. And, on that side,
40:24
what is Europe, which we came from last year, to generate a
40:29
bilateral fund with Portugal, on the one hand, to consolidate with Italy and
40:35
we are opening up towards Asia. We' ve also just signed with China,
40:40
yes, an agreement, but that' s another kind, which is
40:44
what we always say at the Agency. It' s an ecosystem that we
40:49
' re obviously trying to push, and it has different parts, different actors,
40:55
and with China it' s talking about another kind of industry. Sure
40:58
Maybe if you' re not going to have one or one production, but
41:01
maybe you can have a talent placement or circulation of work, then they go
41:07
on other interesting sides. Of course, with India we are working and that
41:10
is to open up with Asia what we are interested in at this moment,
41:15
that we think that well, that more is being given, what it is
41:20
to continue a bond that we started last year and strengthen with the United States,
41:27
well, that is to say that they are gaining territories little by little.
41:29
I understand Marcio Migliorissi, Head of International Affairs of the Film and Audiovisual
41:37
Agency of Uruguay. Here we thank you for this contact with GPS Audiovisual Radio
41:45
and we will follow carefully everything that is happening, especially in terms of contacts
41:51
and co- productions with Argentina. Thank you so much. Many thanks to
41:57
you and always a pleasure to talk and that is to work with Argentina always
42:02
with open arms, that the Argentine talent is totally impressive. Thank you very
42:07
much. We' re still on radio audio- visual GPS. Cecilia Khan
42:42
is one of the seven directors called for the cycle Argentine Directors, organized jointly
42:51
by gender Dak and GPS Audiovisual, which takes place every Tuesday of March and
42:55
April in the cinema art Cacodelfia at 19 hours. Your documentary started from me
43:05
a boat carrying me will be shown as a preview on Tuesday the 12th.
43:10
At 19 hours we are with Cecilia Cana thank you so much for joining us
43:19
and for participating in Argentine directors. Cecilia, how are you? You'
43:27
re too much I wasn' t gonna tell you you were mutated, but
43:29
now I' m listening. Ah listen well, now yes, yes,
43:31
now we hear you perfect. Okay. A ship took me away from me.
43:37
It is a documentary whose starting point is a young Argentine member of the
43:45
Korean Community in Argentina, who learns about the drama of women sex slaves exploited
43:52
by the Japanese army during World War II. How you got to that subject.
44:05
Cecilia was in a very casual way. I was filming material for my
44:14
first documentary. I was in Korea, in fact, signing in South Korea,
44:17
and I had the chance, I was lucky to be able to meet
44:22
one of these survivors. I just had the opportunity to attend a lecture where
44:30
she gave a talk was a grandmother named King Bog Tong. At that time
44:37
she was ninety- one years old when I heard her testimony, and it
44:43
was a heartbreaking testimony, because she basically told how she had been kidnapped at
44:51
the age of fourteen, how she was raped for the first time, how
44:57
she was raped more than thirty times a day by the shame and guilt she
45:01
felt for having survived while she left a lot of dead companions and the social
45:09
stigma she had to live many years later, even though that one had survived,
45:14
that atrocious fact. Nothing was a testimony to the truth that very completely
45:24
broke the truth from me and it was very crazy, because until that moment
45:29
I was completely unaware about that story, about that portion of history. So
45:31
that' s what I didn' t have most, not only caught my
45:37
attention, but I felt like an irresponsibility on my part, like saying how
45:40
I might not know about this, but it' s a good topic because
45:46
of what you notice there on departure from me a boat taking me. It
45:51
is a very strong issue of invisibility that still persists completely today. Go on.
46:01
Yes, yes, yes, and under what circumstances you understood that there
46:06
was a movie there. Okay. It took me many years, actually,
46:12
to be able to first encourage me to want to make a movie playing this
46:20
theme. I mean, because after I had, what happened to me was
46:24
that I' d heard that testimony. It was an experience like it was
46:30
marked for me. This happened, this happened to me in the two thousand
46:37
fourteen, but well, the years passed and I thought, I say well
46:40
not with this is a subject as very unattainable. How can I talk about
46:45
this? And actually that was kind of the contingency of the moment and also
46:53
chatting with my friend and screenwriter from the film, with Virginia Rolfo, I
47:00
was telling her about this topic and one day we came up with that no,
47:05
Virginia came up with a guy. Okay. The starting point was to
47:07
think about this how to talk about this topic, but from here, from
47:15
this point in the world, from the other side of the world, being
47:20
who we are and where we are. And that was a little bit,
47:22
a starting point that gave me at least the chance to think about this movie.
47:29
Not sure, I imagine that because the testimonies are also very hard,
47:36
but how to turn all that pain and horror into images, not to narrate
47:44
them from here, as you are saying and I think you found a very
47:51
powerful point of view, because the film goes beyond that. We' re
47:54
also not going to spoil, because what we want is for next Tuesday,
47:59
at 19 o' clock, to be there in Cacodelfia to watch this powerful
48:07
Cecilia Can movie. But well, what the Korean community of your generation warns
48:14
when it hears about this issue, when this topic arises, because the film
48:21
also raises what happens to young women, not only to power, but well,
48:27
one of the protagonists, the protagonist, is a young woman. Also,
48:31
well, that' s something I' d like to know a little
48:37
bit about when that movie has been seen here in the movies. We are
48:39
very, very, very happy for the screening now in Cacodel, the twelve,
48:44
in this beautiful cycle and also to expectations and preparing the premiere that you
48:49
are going to very soon this year, in July. So, on the
48:54
one hand this and, on the other hand, with respect to the subject
48:58
itself, I think that perhaps unlike my generation, which is a little more
49:04
generation, is an earlier one. Today there is a little more information about
49:08
the Internet and all that generates more information, although it can be from a
49:15
very superficial place, but even in Korea, not all the militancy that there
49:22
is for just the search for justice with regard to these issues, the militancy
49:30
is full of young or less boys from high school, which is, for
49:36
example, that not these women since the nineties, that was the cousin,
49:43
that is to say that in the nineties child and one was the first,
49:45
one of the first survived the one of the survivors, was the first to
49:50
give a public testimony and from that it was the first one that was encouraged.
49:55
And from that every Wednesday they make a protest in front of the Japanese
50:01
Embassy, according to South Korea, and it' s very interesting because today
50:07
those protests continue to work on Wednesdays. But I, when we went to
50:15
sign, was very moving, because that was most of the young, young
50:22
boys in Korean society. I would love this to happen even more here,
50:30
not only in the Korean community, but also in society at large. These
50:35
are subjects that I would like to have a little more than a little bit
50:40
more than the film, even if it can contribute a bit of sand in
50:45
this question of making this historical fact visible astrid that the truth that very few
50:52
people know also yes and also, I allow myself to add without advancing anything,
51:01
the film that also has a universal theme regarding women and the conception that
51:07
we have about ourselves, regarding our rights, our body, the availability,
51:14
of what society expects of us. There is much talk in the film,
51:22
in this case of Korean society, which is what you expect from women today
51:25
even and gender- based violence and abuse. In short, all these issues
51:35
that also confront us here in Argentina and, unfortunately, in so many parts
51:39
of the world. Well, Cecilia Can, thank you so much for this
51:45
testimony. This foretaste of birth departed from me a ship bearing a title also
51:52
very suggestive. On Tuesday then, at 19 o' clock in cinema art,
52:00
Cacodelfia you will be presenting our function. And so if we go to
52:08
the whole team for the protagonist of the film, also to answer questions,
52:13
so we hope that many people can come that we also expect many thanks,
52:17
and with Cecilia Khan, we are saying goodbye until next Wednesday Thank you Cabra
52:27
for accompanying us in the technical operation. Stay on track of radio topic train
52:32
and you know, as we say, always see cin Argentine, but today
52:39
more than ever. Thank you and until next week, this is what we
52:59
wish you visual radio. We expect you next Wednesday at 19 hours by radio
53:10
thirty or train cap