Latest / GPS Audiovisual / GPS Audiovisual T5 P22 - GUILLERMO NAVARRO ESTRENA EL JUEVES 6 EL THRILLER "HISTORIAS INVISIBLES

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GPS Audiovisual T5 P22 - GUILLERMO NAVARRO ESTRENA EL JUEVES 6 EL THRILLER "HISTORIAS INVISIBLES · GPS Audiovisual

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GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, a treasure, a program with a gender
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perspective that nucleates the country' s film industry. Argentine cinema will never be
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the one it is until now. We, from GPS Audiovisual, strive for
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culture as the fundamental pillar of a country, a culture that is free,
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accessible, plural and has State resources for its development. Welcome to GPS Audiovisual
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Radio with the journalistic production of Norberto chap En, the controls, in the
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technical operation, Gonzalo Sorais and in the driving who speaks Julia Montesoro. Paola
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Rici is a very important director of photography within Argentine cinema, who became a
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filmmaker to pay tribute to the great referents of the trade of the better profession.
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That first was Chango the light. Discover a documentary in co- direction
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with Alejandra Martín, with the chango Félix Monti as protagonist. Currently, Paola
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Risi has Ricardo Aronovicz, the master, another documentary that puts the focus on
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one of the most recognized photography directors in the world. On a trajectory of
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more than six decades, we are with Paula Risi starting this new broadcast of
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SE gps, audiovisual, radio and super exclusive news. Hello Paula, welcome,
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how are you, hello Julia, how are you? That' s
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very quick that I didn' t want to give you the news yet,
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because we are in full production little by little. We' re filming,
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but well, you called me and I' m here so much thanks.
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We' re not gonna let her through easily. Not good. First it
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was the Chango monty yes, now it' s not forgiveness, it'
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s still. Tomorrow they' re going to give the Chango movie in One,
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in a cycle that' s going to be made in One. Well,
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I think it' s gonna be the last time you' re gonna
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spend with an audience in a room. That, on the one hand,
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and on the other hand, will open the association that of FE is part
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of the Latin American associations that is called the FELAFK and the FELAF for years
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that has been doing a sample, but now found a platform to do the
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show and we, with our film and with the film of the Chango and
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with the Chango, obviously it is not for us, but for the Chango.
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It' s going to open this Latin American show, the movie of
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the chango on a good platform passed then this very important news. Let'
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s say then that first was the Chango Monti, with this film you were
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referring to just that you will be able to see tomorrow and now, Ricardo
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Aronovicz became director so you could pay tribute to the great professionals of photography lighting.
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I' d tell you the curiosity. I' m very curious I
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come from Brazil to do it. This is a total exclusive that I'
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m going to pull you to give an interview to one of Ricardo' s
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first great disciples, who is Alfonso Beato, who lives in Los Angeles,
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who works with Almodóvar and the truth and I asked him things outside of the
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interview. I' ve known him since last year and I' ve had
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this way I kept the relationship all year since I met him and I asked
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him questions and he said to me a lot of questions, a lot of
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questions. I' m interested in knowing about people, I' m interested
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in history. You remember we had written for the ten years of the DF
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with Mariner and Ines. I made you the book about the history of Argentine
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photography, from the Argentine Photography Directorate, that there was nothing. I did
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my first film history work at the University of Cinema, where I studied.
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It was about photography, about the direction of photography that I had to go
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to the Museum of Cinema, I mean, there was nothing, and there
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already the first work that says it had to do with history, that is,
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it actually joins everyone, it gets together that it is bigger, it
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comes together that they are bigger and that in time you are valorizing more the
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work of these gentlemen and, above all, Good and Ricardo, Already when
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you read the filmography you faint directly what Ricardo Annovich represents to you, because
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he is one of the great masters of photography in cinema. Well, where
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do I start. First to Ricardo. I met him in the year ninety
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- three, when he came every so often to give seminars to Argentina.
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He was a student of photography management at the University and comes to give a
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seminar and a photo, turning around that we are almost all and all comes
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to give a seminar about Fushi. I can name it because a lot about
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Fushi and that' s the first time I saw it but it wasn'
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t the first time I' d seen anything about him and, above all,
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I' d seen invasion that I have to thank Ana Maria Mutchnick for
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a lot of things, also because she' s part of this project.
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Hugo Santiago' s film, which is Ana Maria' s brother, is
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exactly and helped me a lot for all this. Ana María, well and
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I saw invasion and well and I had to film a first short in black
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and white, in film, at a time that was not revealed here in
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Argentina in black and white, and we were in the middle of that seminar
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and there were all the known photography directors, we were what I know and
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I asked him there also I knew Hugo Colase and I approached Huocolate and he
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tells me Mira, I am not of the time of black and white,
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why not. You ask him and he points it out to Ricardo and I
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tell him, but I' m ashamed to tell him that I didn'
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t even tell you I was very young. I' m so embarrassed.
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And there Ricardo sat with me and explained to me everything I had to do
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to get the result that I had told him, that I wanted to look
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black and white. And from that it was my career as director of photography.
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From that work with Juan Villegas, I began to be visible, that
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is, that Ricardo' s help made me visible in some way. So
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he is not anyone beyond the curriculum he has as much as a teacher,
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because he is a teacher and fire is still north not until ten years ago,
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but he continued as a teacher in the femiz in France, but he
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was also a teacher at the Cuban Film School and he was a teacher of
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many people who are teachers today, that others are teachers because they were,
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they had their two or they already have generations, as he has great grandchildren,
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he also has since his holm and teaching. Let' s say disciples
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and why you decided to make the documentary about Ricardo Aronovich, how the idea
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came up. And well, because when I did the cha, when we
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did with Alejandra the chango, one says good and rich that it is Ricardo,
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it is Don Ricardo. And last year we brought the film to the
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ABC week, which is the Brazilian Association of Photography Directors, and there Brazilian
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photography directors themselves come to us because Ricardo lived a part of his life in
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Brazil and tell me how important it was for the film novo Ricardo and that
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for the photography direction of Brazilian photography, the figure of Ricardo is fundamental and
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nothing more than that. So that, when they tell you that, the
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Brazilians say ay no bueno, you have to do it now. Then he
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gave me a predicament about Ricardo' s age being ninety- four years old.
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Now at that time I was ninety- three. I was in a
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hurry and despair that I have to film it. I have to film it.
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I don' t have a handle. Like I do. As I
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do, as I do in the middle of photography director Adriana Bernald who was
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president at the same time that I was president of the DF Ella was president
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of the Colombian association. We became friends and she had been a student of
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Ricardo' s femiz and she had told me that she wanted to have called
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him but that he very much grandmother, had not given him that I was
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good, then there I called her immediately and said Mira. I' m
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going to film Ricardo anyway, but don' t ask me but how do
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we get the money, how do we get a camera? I' m
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going to do it and there came a person who helped us financially, who
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I' ll thank him for all my life. On the other hand,
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the first one who told me good to start here was Mario Santos at the
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University of Cinema. The first interview was Manuel Antín in November of last year
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and there we swim with all guys of the fuck and exo nothing all the
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team of a great friend of mine that thousand days ago made the production a
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disciple of mine and Pedro did the photograph and then nothing. The fug gave
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us everything, absolutely everything and more, why he was going to film it
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to Mr Manuel speaking of Don Ricardo, Ricardo Novi, two characters, not
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two segments, two moments of the history of cinema, big cinema, big
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cinema. Now you were and how did you get Aronovitz, because I understand,
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but it' s not very, but with me yes aha I love
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a lot and I love it a lot and we have assiduous. He just
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sent me a whatsapp today. I' ve got regulars. That' s
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another reason why I said why not Ricardo, because years ago I communicated with
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him, he writes to you, he can write to you by Messenger,
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he can write to you on Facebook, he can write to you by Whatsapp,
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he can appear on which one or an email or send you an email.
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Aha and I have been in contact for years and I talk a lot
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with Ricardo years then and I love him very much and he loves me very
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much. He has no idea, we love each other and he opened up.
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Yeah, right at first. There' s not a filmed part anymore.
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In France there is a part with him already filmed. Yeah, a
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lot of it' s filmed. I want to see the producer Valeria Paymer,
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who is putting together the script This is also a bit similar to that
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of the chango that the producer was scriptwriter Alejandro Hartman, and here this situation
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is happening. Valeria, I met her at college. She was a former
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student of mine fuk in the fum and well, by chance things of life
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we meet again and well she' s there also seeing where what' s
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going to happen. To finish putting together one last film, if possible,
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if possible in Normandy, which is the one Ricardo just told me is going
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to leave soon Normandy, because he lives in Normandy and up to a few
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months in Paris, but his main house is in Normandy, so it would
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be great to go to Normandy to film him there. This is going to
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be a portrait. How do you imagine the documentary beyond being now shaped by
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arming it. It' s going to be a portrait of intimacy. It
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' s going to be a me, I' d say, a master
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class. It' s more like Aeronovics. No. I don' t
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know if it' s going to be a master class. I ask the
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young people if they know who Ricardo ro Novi is and they say no.
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Then some others do, but yes invasion. They tell the Argentines. No.
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I believe that in this particular case, it is so much Julia because
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it is Argentina, Brazil, Europe, because we are not just staying in
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France. He worked with story lines and tells you anecdotes about Chinechita and that
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he was with Marcelo plus Troyan and Vittorio Gasman and I don' t know
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what you saw. Then it' s a lot. That' s a
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lot. I asked him about Katherine de Neve and he told me a phrase
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is fantastic, as is he, who paints it very much light, slips
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it. Each was what you were. You wanted to tell me that you
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have a particular character. If he has it, he has no hair on
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his tongue to say absolutely nothing. So it' s different from a portrait,
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because there are things he says and he said that they' re pretty
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strong criticisms of cinema, the world of cinema, film directors and directors,
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famous film directors, a stance on certain things, that is, there'
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s nothing with what' s not true to talk about all that now,
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considering that this first job of yours as a co- director with Chango Monti,
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another great film and photography director, and now Ricardo Aronovicz, there'
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s some other character in that profession. In Mind, you have in mind
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or you' re going to rummage away. He doesn' t want to
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tell a little bit and the ideal would be to do a series. It
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' s ideal. That' s why I' m telling you this.
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I don' t know. This is a kick and the ideal would be
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to be a series, because I know I am meeting characters one more wonderful
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than the other and one more famous than the other and that have made always
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Latin American wagons. I' m very interested in that. And how the
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Latin American gaze is immersed in Shanky' s world today is impressive. In
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reality, most of them are Latin American directors, of course, and in
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Europe too, nothing that our Latin American gaze, that film directors and film
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directors choose Latin American photographers, is very interesting. Now for the moment,
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well, there' s one. He' s building a co- production.
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Also noticing yes, yes, he' s trying to put together a
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co- production. Okay. Valeria lives in Uruguay. Here. The only
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help I will have and which I greatly appreciate, is going to be that
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of Mario Santos and the University, and I appreciate the testimony of Manuel,
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who I love him. I love him Manuel, so, well, I
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don' t have that and I know I' m counting on them,
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but from here I expect nothing more than that. Not sure, we are
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going through a very terrible moment in the audiovisual industry, culture in general.
19:55
So I guess there' s not going to be any work, but I
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' m sure there' s going to be a great repercussion of this international
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work because of what you told me outside the microphone and because, besides,
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with such a character as Ricardo Aronovicz, let' s hope that many more
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doors will open, pabla laugh and thank you so much for accompanying us and
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good congratulations for this new achievement. Thank you, thank you very much.
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Thanks to you all the time. Okay. We' re still on GPS
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audio- visual radio. I want it to be very present. Well,
20:40
actually, we' re doing this documentary. I had not heard the story
20:45
of a small story over the years a thousand times. I told him it
20:49
' s now that I have to make my film and see if I want
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to be an astronaut and we were all really new. That made us not
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thinking whether or not the film was going to be a success of the freak
21:03
head it was. I never imagined it, but love is more a little.
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What they told us a lot about the time was they came out of
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the caves at night and dawn came. Then we decided to do the same
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ritual and painted a gin and we all farted, but folded, bent or
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plated, those two dishes I like. I think the fair thing would be
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for us to discuss the technical details after the payment that were the hairs that
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had the light show. I didn' t have a big participation myself,
21:38
but I was in the cannea all day then I never went up there again
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how nice I can talk all my life about such a homer, because it
21:56
was a movie that I want to say to myself not to know old naked
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Legend Feroz, the documentary that revives Tango Feroz, a film by Denisur Fake
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and Mariano Frigerio, Legenda Feroz. Premiere in halls all over the country.
22:22
In front of us tomorrow I process with Ofelia, but I think she'
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ll be out early. It' s so dull because of the inauguration of
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the new temple. You want me to see to it that the last of
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Sunday we' re going to stop at the rose. We can' t
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go straight, we' ll drive myself if you' re tired, you
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' re not on the road and I' m missing to teach you things.
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We' re still walking. Sure, there' s a town about
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patience. Any good lord will not abandon us now or you are all of
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you or anything I need this is your wife warns me, no, she
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is not my wife, my daughter Elena. How much you calculate I need
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broken, sir I get it in olaca don' t worry about us.
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We have time and deep are you nowhere we mission Praised, Lord Blessings Brothers,
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Blessings, Brothers, but what is your name is Emilio. You don
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' t get the punch. You don' t get the punch. I
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' m worth as much as I' m worth to the law. God
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gave you a mighty beautiful spirit. I' d like to invite Cemilio to
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come here for a baptism where the pastor takes out be careful what gets his
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head in. In the village there are many evangelicals, just as you are
23:57
insistent are not out for me eye the wind that sweeps away with direction of
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Paula Hernández, hailed in Toronto and San Sebastián the wind that sweeps away.
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Premiere in Salas Thursday 21st March. Tohomás Lipcot premieres on Thursday six its new
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documentary Seeds that fall away from their roots, a film that, under the
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surface of an inquiry about Chinese migrants living in Argentina, lets glimpse the search
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for an identity that involves us all. We' re with Tomás Lipgott.
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It' s a great pleasure to welcome you here on Radio Tomás audio-
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visual GPS, how you are, hello, Julia, how Andás. Long
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time, yes, long time, but well, you' re always very
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active. That' s good. Seeds falling away from their roots, had
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its world premiere at the Baffici Not what movie you saw. So, on
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the other hand, it was the first screening with open public on large screen.
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I was surprised by the truth and also saw the protagonists for the first
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time. I already get tired of the movies in a montage, because I
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see them many times and well, I don' t want to know anything
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anymore after or I find it hard to have a fresh vision, but also
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good you see there everything that was worked and the fruit of so many years
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and the shooting and the montage and I liked it, I liked it.
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It' s a film that was left, it was seen and very compact,
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very long sixty- five minutes. When we started with the mountaineer to
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work, the material was so good that we said good ogra two hours.
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The film was benched two and a half hours and still lasted sixty- five
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minutes, because well, one is also learning to go to the root to
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the essentials and there is something that is of the Chinese, also of the
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Chinese culture that good I took a bit in the titles also so content the
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truth that I like. There was a choral movie that I didn' t
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know was going to work well or not. You have a risky proposition.
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Also a way of filming it that is different from all my previous questions.
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There was something experimental about the boarding. So I think it works and people
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liked it and the protagonists also felt like well portrayed, so I' m
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happy with that. Now, a question that is not original, but why
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are you focusing this time on the Chinese Community? What attracted you to decide
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to make this documentary good? What did you find there that could resonate with
27:06
you to make a movie watch. It was a mistake, like a confusion,
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and those things I paid attention to because I was traveling in China I
27:17
was just presenting a documentary when I was starting the pandemic and I had an
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interview with you at the consulate and I had an interview with the consul and
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I got confused and opened the door more instead of going to her office,
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and I opened a door where there was a large Chinese family doing the migration
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procedures. Then I learned well to eat all the Vuel they also found me
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at the consulate and I said wow, these are our Chinese and all the
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migratory return that you make seemed to me as mind- blowing, added to
27:51
a personal interest that I have in Chinese culture, in Taoism, in Buddhism
27:53
also that that is not as Chinese as I said. Well, I have
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to do something with the Chinese. And when I got here, I started
28:03
researching and it ended up being something else, because in reality that migrant return
28:07
makes him almost all the Chinese who work in supermarkets. It' s like
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the best- known Chinese, the most shuddered, also at the audiovisual level,
28:18
and I started researching and I found a group of Chinese. Nothing to
28:21
do with that image of Chinese supermarket, intellectual people, psychoanalysts, and I
28:29
found it interesting to have another vision that I also started to see what was
28:33
done in the Argentine lighting, and there were always two places that repeated that
28:36
it was the supermarket and the other Chinese. So, if it was done
28:40
that, I thought I' d contribute somewhere else and you started digging in
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there? So, that' s where I started digging and yes, luckily,
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I didn' t do that much research because this group showed up.
28:52
They are a group of friends who came as in combo all the characters like
28:59
this and on the other hand, there is a story of a little chinito
29:02
who plays football, who wants to be a professional footballer and who is training
29:07
here in Argentina to play in China, that this story follows that part,
29:11
so there are like two groups, that is to say all the characters who
29:14
know each other have a group that joins with Argentines of friends who eat Saturdays
29:18
and that I know. And on the other hand, there' s this
29:22
little chinito who plays football that was recommended to me by one of the characters
29:26
in the movie, so I didn' t do much research either. That
29:29
wasn' t quite fluid and how this fan was shaped. Let' s
29:34
say you had to choose, let' s say, characters beyond those who
29:41
were coming to you by chance as you say which ones you decided. They
29:47
' re all characters and not others. No. Not so much, in
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reality it was like mutating internally because there was like a predominance of a character
29:55
who was going to be the protagonist, because he is a character who works
29:59
with the Chinese who just arrived here and helps them with the language and to
30:04
translate and all the parts because they come already. No. This was cut
30:07
off enough, but the Chinese came with a matter of half- pregnant migration
30:14
to the woman and having the child here to get the papers. Then she
30:18
gave him as a place of many amparos with translation and with the help throughout
30:23
the world of hospitable. But that didn' t happen, it didn'
30:29
t succeed because it' s very difficult to sign. Those are very Indian
30:32
issues, very closed. Then I realized that this character couldn' t,
30:34
since he wasn' t going to have the strength to be a protagonist and
30:38
then he ended up being all equated. As I was saying, a more
30:42
choral question, which wasn' t the idea of the beginning. And I
30:45
like it because it' s like there' s a common theme, that
30:48
' s identity, it crosses cultures, it' s talking about different characters,
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but deep down, it' s like a unique discourse that challenges us
30:56
all and I hope that also viewers. On that other side, well says
31:03
the review of Baffisi' s programming in his latest films, seems to go
31:07
with special emphasis in search of the transparency of the world, the dedication of
31:15
people to make life better, more friendly and blissful. There' s a
31:22
humanistic look at your work. Well, bass people, if you love me
31:26
so much you say, you' re losing your hand. Something happens that
31:30
I don' t know that it' s humanistic, because the human is
31:33
very complex. It includes the dark and the destructive and the luminous as well.
31:40
But it may be that I am looking at characters who seek to transcend,
31:45
as a certain state of decay or discomfort in the culture, which is
31:49
already very evident. That was or is something I want to contribute because I
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say well, if I am going to do something look, it will not
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contribute anything to humanity or to the whole of all beings. I don'
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t know what it' s all about Maybe that' s not like looking
32:13
for a turn around. Not that common element in your work. We could
32:16
say it' s your signature. Yeah, yeah, it could be my
32:24
obsession. I don' t know, even though I always try to cum,
32:30
I don' t always have projects that go the other way, but
32:35
it may be yes if there is a search there, if you want to
32:39
do the human thing, of what the human phenomenon or the human experience implies.
32:43
That' s almost all yes, all documentaries were kind of focused on
32:49
the most human portrait part. Not likely. I don' t do much
32:54
to think about my work. It' s hard for me to put in
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that place. That gives me a little modesty, but yes, it'
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s true that it' s like an obsession I' ve had. Yeah,
33:07
look for the bright side of the characters that are anonymous. On the
33:13
other hand, it' s not that you' re going after a famous,
33:20
well- known, and then you' re trying to do it,
33:25
to take a portrait out of there, but they' re unique beings,
33:35
but also with that bright look that, well, maybe it' s hard
33:40
for you to say for being able to lose what I accept is good.
33:40
And if there is something, there is something that moves me from that not
33:45
from the human being, that fights or that brings something, that does something
33:52
doesn' t stay in a state of comfort. If there' s something
33:57
there in that search that maybe I' m busing for myself, I don
34:00
' t know there That' s how I put the issue, but there
34:07
' s something there that I have. With that I admit, not how
34:09
to capture characters that work on an audiovisual level. You can' t tell
34:14
me something wrong. I know, but since that' s more intuitive,
34:16
I couldn' t say how I do it. There' s something else.
34:21
I don' t know energetically call it whatever you want, but it
34:24
' s another order not to say good this character, this story, that
34:29
have something my interests also not, but of course they can be a very
34:32
interesting character that doesn' t work on an audiovisual level, which is another
34:40
topic that works, because it doesn' t have enough charisma or pregnance or
34:45
whatever to star in a story. But, well, it' s a
34:47
lot of trade. That' s it, this height is already the lowest.
34:51
They put me in the trajectory section It' s about to come together.
34:55
Well, you' ve got work to do to talk about a trajectory.
34:59
Tom Lipcot now does seeds that fall away from its roots, it has
35:06
beyond being starring members of the Chinese Community. A look also at the origin,
35:15
about identity. Don' t make the movie. He made you check
35:22
your own identity. Yes, of course, it' s better. I
35:27
put it in different movies of mine. I' m a pseudonym, which
35:30
is my last name backwards and after this movie I' m also using my
35:37
original last name, which is Gocley. It seems half- hearted, because
35:40
there is the director and the screenwriter, who is Lincott, and the producer,
35:45
who is Góti, but it seemed to me the best way to integrate
35:47
it, because I am those two things. I' m that hit I
35:50
made you up in a way. That identity is one identity and the other,
35:55
which is the one I bring from the cradle, did not then bring
35:58
me as one to an acceptance. It is a process, of course,
36:01
but for some reason I chose to do this too and it coincides with this
36:07
personal issue. If you see the final credits, the two identities appear,
36:12
because that is what identities are, that all identities. The last name comes
36:15
with one after you can transcend it or you can do something else. Identity
36:21
is a garment. It' s something we put on to work. The
36:25
problem if you think you are. That' s another topic already clear and
36:34
with this gotclip you have outstanding debts as for a movie, why it now
36:43
appears in credits, for example. No, no, I don' t
36:47
accept it. I wouldn' t want to do you if you meant doing
36:52
something like that a documentary. Yeah, yeah, no, I already the
36:55
jais mosir and I who is like the docto, I the self- referentiality.
37:01
I already think it' s too much. I think it' s
37:05
too much. It' s not of interest. It' s more of
37:07
a question of mine. I don' t see much significance, but I
37:10
' m not at that point. It is good, because this process,
37:15
this documentary questioned me in that sense. He didn' t hit me much
37:21
with a phrase he used. I used one of the protagonists, Gustavo,
37:23
who says that a tree to bear fruit has to sink its roots. No,
37:30
there is no way it will bear fruit, but one of its roots.
37:32
And, well, that kind of painted me for this process of mine.
37:38
Great sentence. On the other hand, great observation. Yes, very
37:44
good, very nice, well and now of course, of course. I
37:46
guess so. I mean, I don' t know as much as you
37:50
do. You had a chance people from the Chinese community, but it gives
37:57
me that it' s also something very Chinese that kind of reflections. Not
38:01
good, and now what' s the way. So, next week'
38:06
s opening, yes, next Thursday. We are in a very rare context,
38:14
because it is good that we do not need to say it, but
38:17
there is a state of affairs very yes, very critical, very serious at
38:22
the country level and economic and all political, but in particular in cinema.
38:27
So it' s kind of weird to go out on the air right now.
38:30
It' s weird. It' s a different session, because one,
38:34
of course, which is an emotion, is a birth. There'
38:37
s a lot of effort back there. But well, accompanied by one of
38:39
those, they are also very big of everything that is going on with the
38:44
runca and with the activity and with all the people who are unemployed. The
38:47
other time I was told by a friend who has a chat group of film
38:53
technicians. Yeah, that group was always made to change your job, and
38:59
now they' re rolling bags of food and people who can' t eat.
39:02
It' s really tremendous what' s going on, but well,
39:08
let' s hope they change. There does not seem to be a very
39:10
positive look at the sector. No, but we have to keep doing it,
39:16
not trying to move forward, despite the obstacles that are putting us all
39:24
in general. I mean, we' ll keep creating and, well,
39:29
if there are people who leave their posts, then there are others. Culture
39:36
is not going to disappear, but it is a very hard blow that we
39:39
are doing exactly. Tomás Clipcot, thank you so much for joining us once
39:46
again and good for the best with this premiere of your new documentary. I
39:52
' ll send you a very large fat. Thank you as always, for
39:55
the space and very grateful. Thank you. We' re still on audio
40:07
- visual GPS Radio r Hola Silvio la paula even with you. He didn
40:09
' t call you anything. Not because he went to the doctor' s
40:14
in the morning and didn' t call me. He didn' t come
40:15
back. No, I don' t know anything. And weird your brother,
40:17
where you are, how I know you called the police. Yeah,
40:24
I went to report it, but I didn' t take a drome.
40:28
I was told that he was most likely helped with the boyfriend and that he
40:34
told you he still has his clothes on to school and the police. What
40:37
did you do with all this? Yes, life and I saw it topá
40:45
because I had already used it or quickly something else or I touched those are
41:05
the invisible law with the lioner A Wexler, Vanesa González and Antonella Ferrari,
41:12
a film by Guillermo Navarro, with production of Rio Films. Premiere only in
41:16
Salas. Guillermo Navarro premieres on Thursday, June 6, Historias Invisibles, filmed
41:32
entirely in the province of Mendoza and with production of Rio Films, starring Leonora
41:38
Wexler, Vanesa González and Antonella Ferrari. The fictional account addresses the subject of
41:46
trafficking and makes it key thriller. We' re with Guillermo Navarro. How
41:52
are you? Nice to meet you here on GPS audio- visual radio.
41:59
How are you? Nice to meet you and thank you for having me and
42:02
a greeting for you and for the whole audience. Well, where are you
42:05
right now, Guillermo, I' m already here in Mendoza, sorry.
42:09
I' m here for a couple of days in a hotel, so it
42:14
' s not an ideal place. I hope you hear me well. It
42:16
sounds good, yes, it looks perfect, yes, well, you wrote
42:21
this story after investigating many cases of forced prostitution in Argentina, what interested you
42:29
in this investigation to decide to take it to the screen. Well, sort
42:36
of. At first he didn' t do a very thorough investigation. I
42:39
was living abroad and I started to see news from Argentina in these cases and
42:44
as an Argentine, obviously I was very upset that this happened so often and
42:52
at one point I started to wonder what I would do. I wouldn'
42:54
t do it if my daughter disappeared one day for the other and went out
42:58
looking for her. And I find the police don' t help, the
43:01
judicial system doesn' t help. I find myself to see that they are
43:06
all involved, that they are two accomplices, the politicians, the police and
43:08
everyone. Well, from there I started writing. This is a fiction,
43:15
although the inspiration was all these real cases that I was seeing. And well,
43:21
I wrote a script that I sent him a competition in Hollywood, in
43:27
Los Angeles, and I sent him because they selected twelve finalists and well,
43:32
in the end I ended up among the twelve finalists, then among the first
43:37
three mentions and ended up winning the best feature screenplay award. So, well,
43:39
there I' ve been a while since I was in Argentina and I
43:44
came and I was quite disconnected with the world of cinema here and well,
43:50
a long story, but I' m not going to be short. I
43:52
knew Sofia Toro for the Chinese, which is perhaps one of the best for
43:59
the best producer of Acá de dosa and together we started a long way to
44:06
develop the film. She immediately felt identified with the script Well, we worked
44:12
together, shoulder to shoulder, carrying this forward until today, when I came
44:15
to Argentina. That' s where I start digging a little deeper. I
44:21
met with victims, mothers who lost their daughters, and well, two things
44:28
happened. One that several of the things I had imagined were quite approximate and
44:37
some details was very rare to me because they were so. But another was
44:45
that the actual cases were in general much worse, much worse than one imagines.
44:52
I think if you put reality 100% on a screen, it would
44:55
be unbearable to see it clear. So, we elaborate this script that is
45:02
intense. It' s on the top of the chair until the last minute.
45:07
We did it that way in thriller tone and good, but one is
45:16
not really reality. It' s you have to imagine five or six steps
45:24
higher than terrible. No. Yeah, I guess so now. Yes,
45:28
it was since then, it was from the beginning a fictional story and you
45:35
were always in this double role as a screenwriter and director. Yes, yes,
45:38
yes, yes, to me good cinema, the independent author and from
45:45
the beginning it was so. I think fiction has a much stronger power sometimes
45:52
than the periodigic, which you documented. I come from a family of father,
46:00
mother and two brothers. So, but fiction has something that you identify
46:05
with the character in a certain way, almost unconsciously. One becomes the character
46:10
that sees on the screen, suffers and feels like that character, then has
46:15
a deeper emotional reach. Now, this award you had in Hollywood opened up
46:25
the possibility of filming this story in the United States or you decided directly that
46:31
it would be here in Mendoza. Well, there were some warm attempts by
46:37
some producers who read the script They liked it, but the proposals were to
46:45
do it in English. Yeah, and then it was watching the story is
46:52
written in Argentina. He says well, he doesn' t sign it in
46:54
Argentina, but with actors who speak English and let' s not say he
46:59
doesn' t accept it. So I preferred to keep the thing so more
47:06
argent and more And what you or what Mendoza offered you and more specifically this
47:15
producer Rio Films, which is with which you are now carrying out the premiere
47:21
at the end of this project. Well, we saw other provinces. I
47:28
traveled with Sofia another we consider good Aires, we consider a moment Santiago,
47:35
the Estero and good we decided for Mendoza, because we thought it was more
47:40
appropriate. The story occurs in four different provinces and then this is an independent
47:50
film with a very low budget and did not give us to travel to the
47:57
province. So Mendoza, we had the loops that we could find opportunities to
48:04
make them pass like other provinces. That was perhaps one of the first considerations.
48:08
In the second was that there was here a group of technicians and some
48:17
actors who were very valuable and because it is fundamental the logistics of a film
48:24
are complicated. I mean, there are provinces in Argentina. It would be
48:27
very Cute Filmar, but you have to take all the technicians from Buenos Aires
48:32
or Cordoba or some Mendoza, from some province that has some kind of infrastructure,
48:37
Mendoza has, it is not huge, but it has yes, and
48:42
there were also some government supports. All the municipalities were very kind. They
48:46
facilitated us from the police to cut the traffic, for safety up to these
48:54
electricity connections of the named public, because I command in the middle of the
49:00
street, in the middle of nowhere. So, well, there were several
49:05
little things, so they were determinable. Now invisible stories are coming out.
49:09
Finally, almost a decade took you the realization of this film. I understand
49:16
well since I wrote the script Yeah, yeah, but, well, it
49:22
' s been growing. Obviously, it was growing in history, that is,
49:27
time, of course it' s a bit busy. I have at
49:30
that time written a dozen scripts and everyone is finding their way. I don
49:37
' t have a wish out of the next one, but out there,
49:39
tomorrow I' ll give him a chance to do the other one and you
49:45
move and out there you work on it and then, in two years,
49:49
the other one becomes a little bit. The subject of cinema, not that
49:50
it' s all like that, impossible to predict, impossible to tell what
49:57
the way of the film is going to be. And now, with invisible
50:00
stories already finished, how you define it, what you discovered, what new
50:08
meaning you find out we are, I think very happy with how the film
50:21
turned out. It' s been a very intense process, crazy, but
50:29
very nice at the same time, because we' ve made a movie that
50:37
tries to say something and I' d say that' s a novelty.
50:38
We are in an era where everyone is superfluous. Everything lasts as long as
50:45
Tweet. So it was a movie where you try to do something, say
50:50
something. It was something he connected with from the actors who participated to the
50:57
last technician. Everyone was saying check how proud to be in this movie.
51:00
So that was something very, very interesting. I don' t think I
51:05
' d experienced other films I worked before where everyone was pulling forward and proud
51:10
to belong to the message we say communicate. And he' s a very
51:16
intense thriller. As I told you, they have at the tip of the
51:19
chair until the last minute and at the same time I don' t know
51:25
shows a world that this whole world of trafficking is. For me there are
51:30
many false perceptions about it. I think we' ve all seen, for
51:36
example, a movie Liam Nison made. I think that' s what they
51:42
' re looking for Where the bad guys are from the Albanian mob and they
51:46
have a pris girl They' re like mose. The reality is that the
51:49
prosenets are just around your house. Sonson, it' s tangible things,
51:53
yes, of course you' re buying apple at the vegetable shop and the
51:59
guy or the woman, because women are so much buying bananas, that is,
52:02
next to you. It' s all very gray. Not then we
52:07
try to paint a world grayer, not so black and white. And,
52:13
well, maybe I hope people start looking at this a little bit more.
52:20
And the other thing is that good. I hope we reflect a criticism of
52:25
everything that happens. I see these fathers and mothers who go out looking for
52:30
Serian, go out to look for their daughters as superheroes, the real superheroes
52:37
like Marvel, because the pornos and they are not afraid of anything and are
52:39
able to get into a brothel, to face a drug dealer, that is,
52:46
they do the impossible to find their daughters with a bravery and truth a
52:51
tremendous bravura. So, reflect that hero of these mothers. For me it
53:02
was much more important than the hero, for example, Beleam Nison made making
53:08
real We don' t try to like that reality. The stereotype in which
53:14
many Hollywood productions often fall. Of course we' re not making anything up.
53:21
No, unfortunately, oh well, or this thing that you were listening
53:25
to that there were possibilities to film this award- winning script in Hollywood,
53:32
there were possibilities to film in the United States and I heard you relate it
53:42
and I imagine that there would also have been that look on Latinos that usually
53:47
also exists in the cinema of those latitudes. Well, it was just the
53:50
scheme you wanted to escape. Really. Yeah, yeah, that' s
53:54
not so much out there because I don' t know the script. I
53:59
think that since they read it to him, they saw it as something original,
54:01
which was just surprising that it was that Latino that they are quickly stereotyped.
54:09
But yeah, right away, let' s say the Americanizes and,
54:16
well, we' ve seen it already millions of movies that have pretended never
54:24
to be here never know how good and it wasn' t what you wanted
54:29
to portray. Guillermo Navarro is then the screenwriter and director of invisible stories.
54:37
This production of Rio Films filmed in Mendoza, which premieres on June 6.
54:45
And yes, being the country, all over the country, in rooms,
54:50
all over the country, exclusively in rooms, is not true, yes,
54:53
yes. Moreover, we still have no arrangement with any platform. So I
54:58
want to encourage people to go to the movies for multiple reasons. First,
55:02
then, the film that' s not going to mess you up is one
55:07
of those movies that you want to go see with your partner, with your
55:10
friends and you finish watching it and you have to go for a coffee to
55:15
talk about it, because it' s going to leave you thinking. It
55:17
' s going to make you feel like you' re going to go on
55:24
and also for the support of Argentine cinema. Year is passing a very hard
55:28
story and it is a struggle to stay in the wings. There' s
55:32
an average ticket you have to sell for another week, so they can keep
55:37
you there. So it' s going to be very important every person who
55:45
decides to go and well, if they follow us in our instagram of invisible
55:51
stories, look for invisible stories, they' re going to find it right
55:55
there right now we' re going to put it now. I think next
55:57
Monday, this coming Monday, we' ll be confirmed by schedule rooms.
56:00
We' re going to be publishing each and everyone can see that where he
56:07
is is exactly, where exactly. We are also giving several materials to put
56:13
on Instagram that we are trying to expand the film a little bit also make
56:17
it a great awareness event working with networks that work against the treat. I
56:25
am inviting, for example, the function we are going to do in Buenos
56:30
Aires, the six a. Margarita Meira, who is one of these heroines,
56:35
a mother who lost her son during Menem' s rule and has been
56:37
fighting ever since. Rescued a lot of girls, helped a lot of moms
56:44
and well, I told her Mira, I want her to be my personal
56:49
guest and have you there at the premiere. We will then be following very
56:52
closely everything that happens with invisible stories. Guillermo Navarro, thank you so much
57:00
for accompanying and well, we will continue to report with Guillermo Navarro. We
57:05
' re saying goodbye then until next Wednesday. Thank you for joining us and
57:14
for following us and as we say, always watch Argentine cinema and today more
57:21
than ever until next week. Thanks this was Radio audiovisual jets. We expect
57:45
you next Wednesday at 19 hours by radio thirty or thirty n three.