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GPS Audiovisual T05 P30- ENTREVISTAS MAXIMILIANO SCHONFELD, RODRIGO DIAZ, CRIS ZURUTUZA, NESTOR FRENKEL · GPS Audiovisual

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Audiovisual GPS Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, a treasure, a program with a gender
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perspective that nucleates the country' s film industry. Argentine cinema will never be
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the one it is until now. We have been saying this here on Gp
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SE Audio- visual Radio, and today it took more shape than ever before
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when a regulation of the National Institute of Film and Audiovisual Arts, published in
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the Official Gazette, changed the rules of the industry in a radical way.
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We, from audiovisual GPS, continue to bet, believing in a culture as
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the fundamental pillar of a society, a culture that is free, plural,
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accessible and has State resources for its development. Welcome to GPS Audiovisual Radio with
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the journalistic production of Norberto chap En, the controls, Gonzalo Soraes, in
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the artistic direction, Jessica Bernardu and in the driving who speaks Julia Montesoro,
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the filmmaker from Crespo. Maximiliano Schumpfeld is the new president of the Audiovisual Autarchical
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Institute of Entre Ríos. We started a new broadcast of GPS Audiovisual Radio with
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him in his new role. Thank you for joining us, Maximilian. You
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' re so good. Congratulations. First, thank you, Julia, dear
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well, well, but listening to your introduction, well the same a little
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bit for many contradictions. You won' t be able to understand a little
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bit just by assuming a position of these characteristics and at the national level,
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having as this news that somehow those of us who are in contact with the
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Film Institute for management issues and all that was something that was already a little
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seen to come like this. It' s yes, unfortunately good. How
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was your first day in front of the yaer where you started ufff asking a
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task yours too. On the other hand, yes, yes, yes,
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the truth that I' m going to see you will be far more frank
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than I might have thought. And first it has to do with something that
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is quite complex, that is to articulate administratively and bureaucraticly, a law that
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is regulated in half and that is not yet in operation. So, that
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for the state is really a very complex thing, with a group of workers
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and workers who are inside the institute, but at the same time we are
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part of the institute with a lot of people from outside, wanting to push
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for the law to come forward and with a lawsuit also, obviously, political
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administrative, so that things start to move forward quickly. Then, above all,
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the administration, the tensions, that the sector be given one and also
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reactivated, that is, everything that has to do with the arming of the
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International Film Festival between Rios, which you know very well with the nervae.
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Yeah, yeah, yeah, yeah. Well, that was very good news
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is that the festival is going to take place in December. On what dates
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please remind me of the 11th to the 15th of December. Aha well,
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that is, that this is very good news, because well, in this
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context, I imagine that you would not be strangers, that perhaps the festival
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was not done. Not sure. Yes, yes, yes, the truth
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that, luckily, my appointment has to see I understand because I am not
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part of the political armada that governs the province between Rios And the truth that
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I was summoned because they trusted a little bit in the trajectory, in the
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cinema. And then the truth that it is very difficult also to refuse when
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you are invited in this way, not as a cango for a trajectory outside
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an armed and then also nothing. The double movement of taking on this type
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of role for the first time and, on the other hand, reliving me
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among rivers, but nothing. I think it' s time and conjuncture to
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make these movements, so that the people of cinema really get their breasts set
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and put the body, so that the things of cinema don' t die
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in this commotion and it was impossible to say no. So, more than
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anything. To this julia to guarantee the promotion for the inter- Rian and
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regional projects, the exhibition, the distribution and one of the first things that
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with which I started totally to countermans and everything was the efforts to have a
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cinemateca. Then I got in the middle of saying good. I love myself
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I know my time within the bounded institute, because I want to keep making
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movies. Then I said I want to see some cinemateca And well, the
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second day I was already making the arrangements so that we have an audiovisual servo
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among the riano and that there is one from here to fifty hundred. Someone
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I' m guaranteed conservation. Aha well, this is one of the objectives
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and well, you started out there, then look for the way to manage,
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to create this cinemateca and give good impetus to the cultural heritage among audiovisual
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riano, which is quite large. Also, let' s not remember that
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there are many feature films among them yours, but there are also short films,
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there are many filmmakers, there are many stories there between Rios, and
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FIZER, the International Film Festival between Rios, has also reported this. So
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that' s two good news. Beyond the struggles, I say no yes,
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yes and above all, what is to be discovered. I think that
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' s what I' m most excited about, being able to rake across
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the province, in every city, in every town, and summon all the
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people who have a VHS in their house, a super eight a sixteen who
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don' t know what they have to go to the oldest TV channels and
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start looking for the file almost house by house, well, very well.
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Now, regarding the fiction of the festival to be held between Rios in December,
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there is already some name to direct it. But as you imagine it
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' s going to be. No. I think that, while it'
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s not all closed, the teams are going to keep going. The idea
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is that the teams of work both of the market and of the artistic direction
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and such will be maintained in the same way people of the administration as well.
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But, well, that' s still as it hasn' t been
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since all confirmed. You can' t tell him because there' s no
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shortage of issues that have more to do with bureaucracy, but the intention is
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that the team' s arming will be similar, obviously adding people from the
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new management and people who needed the festival to continue enriching it. But yes,
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the intention is above all continuity and to continue giving space to the interdisciplinary,
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that cinema is not only a festival of cinema, as Feezer does,
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but that it also continues with this search to approach other arts, that Fiso
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is a house where they can live together, where culture can coexist between rian
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and regional. Also, obviously, then, for that we are also thinking
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of other ways of approaching literature, poetry, the visual arts and even.
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The point is that it has more to do with the regionals or the traditional,
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the chamamela, the clogged ones. So, well, trying to get
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all that to live a little bit another way to rescue also culture and identity,
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in this case of the province between Rios and regional. Yes, I
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heard a lot from someone who admired a lot, a writer who admired a
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lot that told me that when I was like at the beginning of the year,
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a little good, what we' re going to do a little,
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like the whole world of culture and art in Argentine, or desperate, made
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me see that in a very loving way the important and expendable that we were
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going to do and the artists at this juncture and the culture and the important
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role that we were going to have at this moment that is being given and
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the truth that I thought it was clear. It seems to me that it
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is we who have to give the fight, what we have to put the
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body, what we have to meet, hug us from another place and it
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does not seem to do things. In fact, I' m filming one
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movie premiere to another at a festival this year. I' m setting up
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an installation like that really also told me clearly that moment to give this and
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to make these moves and get us out of funding. Well, we'
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re going to fight it and we' re going to get it back,
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get attacked, we' re going to understand each other, but don'
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t get the urge to make movies, to express ourselves, to film,
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especially if it' s a possibility of peer- to- peer understanding.
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Exactly good. I was going to ask you that reference when you assumed,
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you said you were in a very special moment of your career, of your
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artistic career, how is that moment where you are. Okay. That'
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s because you said, as well as very much as it happened, I
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have a movie to premiere. I' m going to a festival with another.
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Well, let' s count a little more, please, yes,
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yes, yes. I premiere a documentary that a little bit has also made
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me change the way I' ve been thinking about movies and this question and
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the encounter that is an adaptation of a book of poems in the film that
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we see doing a long time ago and that has made me know other kinds
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of people. Then it premieres at a festival that will be announced shortly.
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But, well, I still can' t say. And that film has
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also made me like rethinking my link with cinema and with what I feel like
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doing and what I am doing the new, which is also very linked to
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the crossing with literature, with a form of writing, with a way of
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producing and making movies. So, that' s why I meant a pretty
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special moment. I also say not a lot of impulse and a lot of
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desire to do. I think and also a little not thinking so much about
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doing the reverse movement, but maybe half counter- mano, when maybe I
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feel that many filmmakers are thinking more and more about getting into a platform,
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how to cinema that fit that kind of scheme. I' m doing the
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opposite. I believe more in much more expansive, in creative independence, not
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especially totally July and that things don' t end up just in the device
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of watching a movie that can add much more to another kind of clairvoyance to
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another kind of experience, also of itself experiences like that. Okay. Maximiliano
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shan Feld, brand new, Secretary of the Audiovisual Autarchical Institute of Entre Ríos.
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Thank you so much for joining us, Congratulations once again for this new
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facet in your career and good we will be communicating and keeping up to date
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with your news. I' ll send you a hug, big one.
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Hug big thanks always for the support to Argentine cinema and a rhean tros.
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Thank you. We' re still on audio- visual GPS. Radio are
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fundamentally so together whether or not they are missions a movie destination points to growth,
16:15
doing little in the future nature, diversity and professional passion of innovation industry
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end a place all the stories choose to film on mission. Rodrigo Díaz has
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been the director of the Ibero- Latin American Film Festival of Trieste since nineteen
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hundred and ninety- six, which this year will be held from 13 to
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20 October. Under his direction, it has become a reference point for Latin
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culture n the American. In fact, the upcoming edition will be inaugurated with
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a preview of plast notes for a documentary documentary of Candela Bay a tribute to
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the first Argentine director, who made a sound feature film. We' re
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with Rodrigo Díaz. Thank you for joining us here on GPS audio- visual
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radio. Rodrigo welcome not thanks to you for any tribune i therefore, when
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one does an incunso job and thing a warned and sad, Yes, well,
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it is not the case of Trieste and with your management. From here
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the theme Good is very visible. A few days ago the first advances of
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this new edition of the festival were announced. What would be the strengths that
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you have prepared for this programming and always delicate, because more of something will
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escape me someone will be offended well, but it is something in general.
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Then, in due course, we will return to the details. Perhaps the
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strongest dish, let' s say, is the prize we' ll award
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Costagabras. Costa Cabra made two films about Latin America, about Uruguay and one
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about Chile. Well, a universal figure, one of the personalities of the
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world, of the most important culture for its vast work. He tells us
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he' s made a career, but it' s the fact. Cinema
18:56
corrected it one day to a journalist you told him that he has made a
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career and he interrupted him that I told him I have not made a career.
19:03
I' ve done yes, of course, of course and totally.
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We always say that I see him crossed because until now he has ninety two.
19:11
Yes, any eventuality may occur. We hope it' s not.
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Naturally, he' ll be here only for forty- eight hours. We
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had proposed three alternatives, one to deliver the Term in Rome on 11 September.
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In the Italian encyclopedia Trescan the most important cultural institution in this country.
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He' s got a million two hundred and zero people who come in every
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day to the trestaña or as president of the jury in sad or a touch
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to you escape, say a thousand for as long as he could and he
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wanted to get mine here for forty- eight. That is a criterion that
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we want to maintain if we have a figure that produces an impact in Europe
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and in Italy, because, unfortunately, the contents are not its official I
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think that Europe and Italy. In Italy it is unforgivable from the sociographic distance.
20:27
It adds a certain cultural distance, in the sense that if you tell
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a story about a figure of a missing person who was emblematic, it is
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very likely that most of the Chine Junta spoke about the people of Chile.
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I' m not talking about the funeral population. I had no idea.
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The time before, Bernardo Bergigue sent me two ends to tell him a trial
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and one of them I did that notation telling him that the end for Latin
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America and for whom in Europe, to make monographic festivals with projects, because
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many things are done without project is of great importance, but I see it
21:17
very difficult for festivals that make markets or festivals in general, where what is
21:22
done fundamentally is to promote ego, to promote job, to move a number
21:29
of aspects that sometimes have little return with cinema. And we came down to
21:37
promote Latin American cinema, to dry Latin America in the country. And I
21:41
think we' ve been consistent. That is why from the beginning the President
21:47
was Fernando Friday, when he went rando in the early eighties in Havana in
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the house that gave him the Cima School, nor the García Márquez Foundation.
22:00
Yeah, I still didn' t have doors or windows, and when he
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invited me to lunch, he told me how you could see. I don
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' t need to tell you they have the doors open. Always clear if
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it was birrit who had that mood. Okay. One of the first questions
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he asked me was why I was president of the festival, and I told
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him because we' re not making anything up. We are the continuity of
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something that others have done before and in that before one of the most important
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figures and it is you by what seems natural to us. It is not
22:44
a praise, it is not a decoration, it is not simply a concidence
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of reality and in the Latin American reality, in the cinematographic sphere in every
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field, the figure for us most relevant. It is You and you know
23:03
or add that You are an Italian bond, that you were born or that
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comes from a family, that Santa Maria la Longa, which is the region
23:11
where the festival takes place. And to say no more, there are other
23:18
aspects that you say clearly. We haven' t had that consistency. And
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then Blasta, with which, if you come of fifteen minutes, is perfect,
23:26
because in an inauguration programming a feature film is not always the most sentient
23:34
or the most pertinent, the most pertinent, of course, of course,
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of course, why I say this, because to me I say it from
23:44
my own experience, I say to all the festivals that I go to Latin
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America at the opening, what most troubles you is to see the faces of
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the people that have seen me or that do not see years ago, so
23:57
you will see it exchange and there are a thousand things that come together in
24:03
the house that and prepare a feature film and then the day is gone because
24:07
between the ceremonial parts and the film is two or three hours. Yes,
24:08
yes, yes, a short, an important symbolic short, because we,
24:15
if as Blastap your initial world until your first adulthood, develops in the customer
24:26
area. Yeah, it' s obvious we couldn' t not make a
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proposition. The candela of this type of director exactly good if we want to
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promote Latin American cinema, if we want to help that it is short,
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then it is a long, one surely passes us more important and relevance inaugurating
24:56
with it. Of course, of course, if we have been talking about
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this with candela precisely in last week' s broadcast of audiovisual GPS radio,
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of this presence in Trieste and good of what it means to try to concrete
25:12
the feature film. Not this year the poster is signed by Héctor Mono Carrasco,
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one of the most important Chilean muralists, who fled to Italy after Augusto
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Pinochet' s coup. You yourself emigrated to Italy half a century ago.
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Exile is one of the festival' s constant themes. You can do it,
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it can not just because with human hard lock. I think I was
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one of those who lost because I wanted out. As my people are spoilers
25:52
and I speak of chill because I am Chilean, but the same could say
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an Argentine, a Uruguayan ras and some Central Americans, so it is a
26:11
complex problem that affects the human condition and as such, we face it and
26:17
as such, we are always available to take works that deal with problems of
26:22
this kind. I mean, we' re a festival that married certain values.
26:30
As long as I direct it, we' re not sending it.
26:33
After almost three decades of leading the festival, how do you maintain motivation,
26:40
what new challenges you impose tell dreams. It is the projects that are very
26:52
difficult to say to achieve them for a simple reason, because the festival at
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your side two aspects that are very important, autonomy and independence. We are
27:03
not and are not linked to any area of Italian social political power. We
27:10
are not linked to the programme we propose each year. Hence we have sought
27:15
alliances with those institutions that guarantee independence, as are the universities with agreements signed
27:22
with seven Italian universities, among them some very prestigious ones, such as that
27:29
of Sadste, Venice, Padua, which is the third oldest in the world,
27:33
Bolombia, which will put her the oldest addict and ULME, which is
27:36
the private university, the most important in this country and which is titling a
27:41
film by Daniel Rosenberg aha just headline already pays you riguera. That way we
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have ties. It involves a huge effort during the year, because you have
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to master many things and have many things that are different like the ones you
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can' t neglect any, because both are or many are all important.
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There' s nothing that' s secondary, like the hourly, like the
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staff There' s no figure that' s secondary because you' re missing
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a jack. Inevitably, the event is a great challenge. I think deep
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down, when I didn' t get out of school for film reasons,
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I got exiled because I was a trade unionist. I worked here in Italy
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twenty- one years. The unions something very important in the region of Venice,
28:38
which are seven provinces, one of the regions that contributes most to the
28:44
Italian, because there is a great industrialization and I can tell you that I
28:56
made the tour allowed me to know inside this country. But for futuval muso
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moon he never neglected it in a grimo crazy job, because he has no
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ideas. We sleep four hours when after five there is not enough. The
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rest of us get the time to be there in the plot. He'
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s got clear soldiers, well, pure passion. Then, Rodrigo Díaz,
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director of the Latin American Ibero Film Festival of Trieste, thank you for anticipating
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what awaits us in this thirty- ninth edition of the festival that begins on
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13 October. We will continue to accompany the novelties of the festival, where,
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well, Argentines also have a very important presence. I' m sending
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you a big hug. Thank you so much for this contact. Thank you.
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I look at you minimum fat and even products, but I will go
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painting to South and there I would go to Buenos Aires, unquestionably. Well,
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then we' ll meet around here too. Thank you so much.
29:57
Goodbye to press people and cultural manager Chris Zurutusa, published the Book of Tales.
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In the future we will be a retro object a range of fifteen simple
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stories of daily rituals that are familiar and at the same time strange. We
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' re with Chris Brutusa. Thank you Chris for joining us and welcome to
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GPS Audiovisual Radio how you are. Thank you for this space. Well,
30:47
it' s a pleasure to be. We always coordinate interviews and this time
30:51
I leave myself exactly to you. Okay. There is a question that is
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surely the most elementary and the most unattainable for what it is written. I
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think in my case I write for fun. As I do a little bit
31:11
of I don' t know justice by pen of my own. It is
31:19
very pleasant how perhaps live stories or listen to stories and be able to change
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them in the end are as playful as literature allows, not lived situations that
31:36
we can twist the way. Yes and that' s like having a power,
31:40
a magic as unique, of course, of course, well, a
31:45
large percentage of the fifteen stories that make up your work have scenes or characters
31:55
linked to the cinema. What' s first in your life, cinema,
32:00
a literature, oh, what a question. And, well, you can
32:06
' t do this polyamour thing, and we' re not all that modern.
32:12
Well, I, first of all the first thing I think about every
32:15
day is what I' m going to read every night, because I wouldn
32:21
' t say so much in writing that it' s first. There'
32:23
s reading first, in my case, and I think that' s the
32:30
podium, it' s the reading, and then it' s the cinema
32:36
and the writing. But without reading it wouldn' t be me, i
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e, that literature was first in your life, because going in there,
32:50
latura, well, it was always and maybe a little product of the work
32:54
closely linked to the audiovisual. In literature, I find a recreation and a
32:59
rest in the cinema. It' s kind of harder for me today.
33:04
Sure for me the outings from without movies are usually good or premiers from friendly
33:12
people or talk in the day. I' m watching movies on links all
33:16
the time. So a little bit of that happens when you work on these
33:22
things, that the leisure part runs a little bit and, instead, in
33:28
the literary, I still keep that reading. Reading colleagues, going to the
33:36
workshop and listening to my colleagues is like something very pleasant and, on the
33:40
other hand, well, the work with the audiovisual has a lot of pleasure,
33:46
but well it does not stop being. I have to watch this movie
33:49
for someone, to present it, for a plan exactly. I think that
33:52
takes a little bit of that out of my time and I see a clear
33:58
movie, of course, sometimes, just because of that job that you have
34:04
in one way we have in another way, but linked to the cinema,
34:08
you don' t always choose to see, but many times we are just
34:16
linked to the work, with commitments. Of course, literature is a space
34:22
of greater freedom than you choose. Now screenwriters are inspired or often inspired by
34:28
literature to narrate films. In which films did you inspire yourself for these stories
34:37
that make up your work? They weren' t like a lot of directs,
34:46
like I took a special movie for a certain story. But I do
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think that if not like that more traditional cinema. Leonardo Fabio. I think
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he' s a bit of a teacher, and that' s where some
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of them come from. I don' t know if they' re ideas,
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but yes ways of seeing me in general as good for those who can
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read at some point, my stories are very descriptive. I don' t
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know if I' d say visuals, but yes, they kind of present
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a lot of situations, with the details, with the scenarios. Yeah,
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and I say it' s part of what always traps me from the Fabio
35:29
movies, the place thing, in the province, the objects of the characters
35:34
around them, that is, that hardware store of the dependent. Let'
35:38
s say, to say an example like I can think of now. As
35:43
the clearest thing, I don' t think that cinema, as well as
35:49
having a lot of Costumbrism, is the one that traps me a lot and
35:53
the one that then a little, I take that look to what I write.
36:00
Well, it' s not the same, nor is motivation the same
36:04
when you start a project that when that project is already a work and is
36:09
embodied, not what new readings you find in the future we will be a
36:19
retro object now that the book is already circulating evolutions more than anything. No,
36:28
well, everyone' s looking for that' s amazing. Many friends
36:35
say but such is such. No, and some neighbors told me. We
36:43
know that you write like things you see or live. In a moment we
36:47
wonder if you wrote about the building. But, well, some made me
36:55
evolution, for example, of characters who saw them lonely. Despite all the
37:00
interaction, I saw a lot of loneliness. I didn' t see that
37:06
the moment I wrote. They are characters who have many rituals and customs and
37:15
each one a little with his or her maña. That' s what happens,
37:20
too, I mean the normal ones. We all don' t have
37:24
all that and many told me that loneliness that other characters have. The return
37:30
they made to me was like this about him, that each, with his
37:34
folds, even some characters do some evils. No, but I kind of
37:40
don' t judge. It' s like something that good happens and the
37:46
character is like that and then I' m going to tell what happens to
37:53
me, well, the reader' s return is like it happens with the
38:00
movies, not another time and and super valuable and I think it completes something
38:07
like that already is and already belongs to the audience now on paper. Sure,
38:09
sure, sure, yeah, just like, just like it' s
38:14
a new path. Let go, it' s not true. Release and
38:15
good to see what happens now From the same title of the book. There
38:21
' s already a disturbing journey you' re proposing. Not because it'
38:25
s a real obsession. Yours is this that in the future we will all
38:30
be a retro object look. It came from a story in a moment some
38:39
characters who talked about that situation of turning back and also at a certain age.
38:50
I think we started seeing it in friends. No, what we feel
38:54
is still modern canchero is retro I say meet my friends, see us dresses
39:04
re modern with the sunstar and that is already from the nineties. Not like
39:14
I think. That' s like we have a lot of marks all at
39:21
the time and I, in my case, like an object that at one
39:28
point was present, that good is the cover of the book at one point
39:34
that soda siphon, which is the cover of the book was present. And
39:40
when in the family my grandfather was sorero, my father also when that siphon
39:47
was present, nobody kept it because it was something decorative. And today I,
39:54
who do have an object, is back that one. I liked that
40:00
reading and when you don' t share a little bit, it' s
40:07
because that cover and everything comes up a lot of returns that my dad tells
40:16
me had a printing press. We still have the machines at home, or
40:20
my dad had such a job. I say wake up a whole family history
40:25
that for me is like wonderful. I mean, I' d have to
40:30
make a book about all those stories that tell me. There' s a
40:32
book, there' s a second book at the door, or not yet.
40:39
Now I' m enjoying this. As I follow the workshop, follow
40:45
the production and good. There are stories, there are stories, there are
40:49
many more stories, but good. I' d like to discover a story
40:55
that interests me for a novel that I think the novels have that that keeps
41:01
you trapped a long time and solving a little bit internally. The story,
41:07
in my case, at least comes out as the best of a moment,
41:12
of a more limited time and, instead, the novel of going to work.
41:19
That seems to me like an experience in yourself. Well for now,
41:24
then there are the bookstores. In the future we will all be a retro
41:30
object. Chris Burtusa, press people, cultural manager, writer, thank you
41:37
so much for joining us. I' m sending you a very big kiss.
41:43
Thank you for this space and, good to the listeners as well.
41:46
Thank you. We' re still on Radio Craft audio- visual GPS.
42:01
It can be. You do know about the girl that came to yesterday Maite
42:09
' s apology is looking for me Daniel in lifeguard. He' s not
42:16
playing someone. Yeah, I' m all the same. The same thing
42:22
happens to all of us. Very, very good dyer that something is going
42:44
to change my life. A wreck a Banina movie is a wreck. Premiere
42:50
in Salas 27 June. As of August 6, Nestor Frenkel will give the
43:07
workshop up close. No one is normal cinema, documentary, playful anthropology and
43:15
coso this is going to be at Dack' s professional extension center. In
43:19
online mode. Frenkel is also presenting his latest documentary these days. After a
43:27
good day that premieres tomorrow at the Gomont cinema and is also exhibited in the
43:31
Malva and the San Martín Cultural Center. We' re withéstor frenzy welcome,
43:37
how are you hello how are you? Thank you for the invitation.
43:43
Well, the idea of attending a film workshop or a workshop where you can
43:49
dump experiences and your knowledge about how systematic you' re going to plant the
43:58
workshop is very attractive. No. I don' t give a class say
44:07
and not systematically pose, but work is also a project analysis workshop. It
44:14
is the postulants come with some project, so we work precisely on the shortcomings
44:21
and weaknesses and powers of each person, each project and according to what moment
44:27
it is. Then you put together an interesting combination, which are people coming.
44:31
Some have only one idea, others have already advanced the shooting, others
44:37
are almost close to a first final armament. So, the different moments of
44:44
each project, the different stages and the different types of projects that exist in
44:50
the long run, let' s always say the questions are more or less
44:53
the same or the doubts or that the moments that have to go through.
45:00
There is a situation in which projects are feedback from each other. It is
45:07
not so much what I propose, but I open that game so that a
45:10
dynamic of sharing problems, let us say, and of finding strength, can
45:16
be built among all. From now on, with your vast experience in audiovisual
45:23
filmmaking, I say there is some look that you are interested in giving to
45:31
the workshops. I' m trying to take care of that. Let'
45:37
s say there is something natural, that yes, that there are things that
45:39
interest me more and that bring me closer, but I' m not interested
45:45
in the idea of generating a school or another style, looking for documentaries to
45:51
have a style similar to what I' m supposed to do or what I
45:54
' m most interested in, but trying to see everyone find their strength in
46:00
their language, including something I would never do, but trying to understand what
46:04
the other wants. I' m not attracted to the idea of generating the
46:10
teacher, let' s say minclons, documentaries look like a documentary school,
46:17
but rather with modesty, let' s say, sharing what you told me
46:23
the experience, because well, I' ve been doing this for twenty years
46:27
now. I' ve been through it more than ten times. Then I
46:30
realize that they are repeated instances. There' s a moment where you think
46:34
what you have to do is a wonder. Then she feels like she'
46:38
s a terrible one, feels like she' s very hard at a stroke.
46:40
He thinks he' s ready and missing. Let' s say they
46:45
' re always stages that are repeated. So, well, there, yes,
46:47
I have the experience of having gone through it several times. It gives
46:52
me that place to be able to lead a little, let' s say,
46:59
and what to say you' re walking right now. Try to go
47:00
more here, try more there. Your project has certain powers and weaknesses.
47:07
Look also seeks to see in the other, which is what the other wants
47:10
more than I particularly care about but try to get each person to find their
47:15
own voice now who is running the beginner debutante workshop. Not necessarily. Not
47:28
necessarily the truth that the proposal is open and then selection. It is done
47:35
by trying a little, combining people with a little more experience, people with
47:37
less experience, people who come with film studios and people who come from other
47:42
branches, people who come from philosophy, music or journalism, as long as
47:45
there is an interesting project, there is something original and also feel that there
47:52
is something to work with. Sometimes it also happens that people come with a
47:55
very small idea, but that there is an interesting germ and others look like
48:00
a very big idea. But she' s already so worked out and so
48:06
advanced that sometimes you say you don' t have to, it doesn'
48:09
t make her easy. Nor is it a matter of not being chosen by
48:14
category or quality, but by the possibility that this project may be exploited.
48:20
Let' s say to this workshop now the registration closed yesterday for the workshop
48:30
by the guy I understand. That could be you were talking these days.
48:35
Yes, yes, now because of the type of projects that were registered.
48:40
You see that there is some theme or some style, some kind of narrative
48:50
that predominates over the other views, more or less, they do not always
49:00
end up being around the classic axes. What is looking much more like it
49:02
is, obviously, at the time, all that has to do with virtuality
49:07
and artificial intelligence, and that remote connections the artificial. All of that,
49:15
well, it' s a theme of the time and clearly it' s
49:21
already appearing as a subject to document several projects that appeared with that theme later.
49:28
Well, in general, they always appear as stories of the past,
49:32
more politics or a lot of family history, also that is something that the
49:39
last few years there are more and more. Let' s say this generation
49:45
that' s been formed since kids. So there' s a lot of
49:50
archive material, well, and there' s also, like this time has
49:55
also brought a lot of literature, show and documentary stuff in the first person.
50:00
Nor is it something that I, particularly me, especially interest me,
50:04
but it also takes when it is interest. I mean, it' s
50:06
not something I' ve been growing since my work, but I can see
50:12
it, and I can obviously help someone develop a project along that line.
50:15
I' m trying to be kind of open enough not to take this that
50:19
has to do with what I like. Right, right, right, well,
50:24
listening to you, I was very tempted to ask you, and I
50:30
' m going to ask you the last question. Let' s say this
50:32
about self- reference, which is very old- fashioned and which is true,
50:36
it' s not like your cinema. How it' s handled,
50:42
because it' s almost a virus not that' s prevailing. Yeah,
50:47
and I don' t know how to handle it. Let' s say,
50:51
it' s a subject of some. Sometimes you feel it more justified,
50:53
sometimes you feel it more forced, sometimes you feel it more like someone
50:57
is trying to enroll in a fashion or in a style or in a school.
51:01
This should be the documentaries, but neither is it exclusive to the documentary.
51:08
They don' t pass the literature, they pass the tetra. I
51:10
see more and more theater that is no longer fiction, there is almost no
51:15
performance, but people counting as the occupation in the first person, the life
51:22
put there as the documentary theater. No, no, no, no,
51:27
no, no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no,
51:27
no, no, no, no, no, no, no, no,
51:27
no, no, no, no, no. I don' t
51:29
know about the pandemic. I think it accelerated a little bit. That is
51:30
also necessary to leave a clear record that we exist. I don' t
51:37
think it' s the panic we all had to die in mass. Yeah,
51:43
well, I usually think of this, if you allow me to dare,
51:50
I usually think that not all parents are interesting or worthy to tell.
51:54
As a documentary, my old man, for example, not clearly, not
52:00
clear, yes, exactly or the conflict with your father. Yes, yes,
52:06
or also the narrator, that that is the conflict is interesting, but
52:08
the narrator is not. I mean, standing in front of a screen,
52:13
I mean, it' s not for anyone to hold. That' s
52:15
because you write yourself as good. Now the modern documentary, the literature of
52:19
the yo blablabla, but then you are the protagonist of a film, then
52:22
you have to hold with your image and with your charisma, a good movie.
52:27
That' s not for anyone. Ok see clearly not good. You
52:30
start tomorrow after a good day, what you were inspired by and what you
52:37
' re about. Well then, as it' s based in the day,
52:42
it' s a documentary about a movie. That' s not the
52:44
movie. A good day and good is quite the opposite of certain documentaries being
52:50
made about successful films. It' s just the story of a big failure,
52:57
but not discounts in this house. It' s a documentary film about
53:00
a film that failed, but that lasted in time and that time made it
53:07
revalue in another way. Then the very particular story, because it threw a
53:16
huge group of fans, a huge number of fans that some constituted as a
53:21
group, as a community and generated a lot of things up to a movie
53:28
tribute, that they revalued it, this film, they had, they did
53:34
a lot, a lot, that is, they took it as a playful
53:39
object and played with this movie to the most unexpected limits that you can imagine.
53:43
And, well, somehow, that whole story caused this documentary that I
53:49
made, which tells a little bit everything. Who made that movie, what
53:53
happened to that movie and what happened next with all this that then, well,
54:00
I try to ask myself without making it explicit, but well, I
54:04
put all of its elements in the documentary so that you don' t ask
54:08
yourself why not, why the things that happen happen, because flower of question
54:14
right now, of course the good thing. Besides, another component of your
54:19
cinema, Nestor Frenk, he' s humor. There' s humor to
54:23
irony and I guess in this I haven' t seen it yet but there
54:30
will certainly be if I invite you to see it when you want to tell
54:32
me, I leave the tickets. Yeah, there' s a lot of
54:34
humor. I' m really happy with what' s going on. I
54:38
was most of the first screenings at the festival and what happened in the room
54:42
is really strong and everything I get from messages and people very grateful and very
54:46
branding that and in these horrible moments that we are going through, people are
54:52
very grateful that they laugh for a while and that they enjoy and that something
54:58
happens that has to do with humor with love, with hope. Let'
55:01
s say, it has a lot of yes to give you an encouragement,
55:10
the truth is that these are very dark times, so in that sense of
55:15
the movie it came into this time. So let us say how good it
55:19
is and we are grateful for that humor that helps us to reflect and move
55:24
on. Thank you Néstor Frenkel very much for this participation in audiovisual GPS,
55:32
radio and well, then, after a good day already in cinemas and also
55:38
the workshop this with this name. Strambotic but very tempting in the extension center
55:46
of dak. Thank you so much for joining us and with Nestor Frenkel.
55:52
We' re leaving then until next Wednesday. We thank you for being here
56:01
with us on GPS audio- visual radio. Do not leave because now arrives
56:07
bad night and remember as we always say, but today more than ever and
56:15
emphasized see Argentine cinema. We still have Argentine cinema. Thank you until next
56:21
week. This was GTs audiovisual Radio. Well, we' ll be waiting
56:45
for you next Wednesday at 19 o' clock on the radio thirty- three.