Latest / GPS Audiovisual / GPS Audiovisual T05 P12 - PAULA HERNANDEZ, CAMILA TOKER, MARIA ONIS, LUCIA LUBARSKY

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GPS Audiovisual T05 P12 - PAULA HERNANDEZ, CAMILA TOKER, MARIA ONIS, LUCIA LUBARSKY · GPS Audiovisual

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Audio- visual GPS radio every Wednesday at 19 o' clock. The protagonist
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is Argentine cinema. In Bijundia Montesoro Oro, a program with a gender perspective
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that nucleates the country' s film industry. Argentine cinema will never be the
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one it is until now. We, from audiovisual GPS, continue to bet
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and continue to believe in a culture as the fundamental pillar of a society,
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a culture that is plural, accessible and with State resources to develop. Welcome
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to GPS audio- visual radio, with the journalistic proation of Norberto chap and
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the driving of those who speak to you, Julia Montesoro. On Tuesday twenty
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- six Argentine directors continue. The cycle of great national premieres directed by women
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is presented every Tuesday at 19 o' clock commemorating Women' s Month in
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the cinema art Cacodelfia, organized by gender DAK and audiovisual GPS. The title
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scheduled for next Tuesday is The Silence of Men, a shocking documentary by Lucía
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Lubarski, who is accompanying us today at the beginning of this radio audiovisual GPS
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broadcast. Thank you for being with us, Lucia, welcome. You'
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re mutated, I' m not listening to see you there if you get
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untied that the microphone is perfect. Now it is, well, a pleasure
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is here. The idea was to be in the studio, but well we
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could solve fisticuffs women always solve well the silence of men. It challenged traditional
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norms and stereotypes surrounding men and questioned family and social mandates. What prompted you
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to do this documentary Lucia initially. I think it has to do with a
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kind of son of a time, as after so much, to travel from
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the feminisms, asking us our roles, the places we have occupied that we
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no longer wanted to occupy, both women and dissidences. There is always like
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a place that remains like a silent void, that has to do a little
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bit with what is happening with men in all this rearrangement. And many times
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we find that echo that was a silent echo. And I wondered in political
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and toceles terms, but also later in personal and more emotional terms, what
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transits men were taking and what questions were somehow emerging in this context of the
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feminisms, to dislocate certain places from us, to be able to address others,
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to ask ourselves and problematize and interpellate a lot of places among them,
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also our desire, our mandates. And then, well, somehow by mirror,
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I started thinking about what was going on in the male world. And,
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well, there' s a starting point that seemed very interesting to me.
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To think about that, I had to do with the family nucleus,
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with my own family, with issues that were taken over, so I think
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they' re pretty easy to identify in other families as well. And how.
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The main axis, the original objective of the documentary in the course of
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filming, was modified. It has changed a lot and this question is good.
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It changed a lot after a fairly long laboratory we did at the DA,
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a workshop we did in genre, which we did with barbara, Sorasoladai
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and Natalia. It' s my friend yes and I could basically say that
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when I entered that workshop, which lasted three months, the film was going
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to be one and when I came out of that workshop, I rewritten the
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film completely and, among other things, my family came in, which was
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something that I was very resistant to, that between my own voice, that
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I entered a presence a little more explicit, more marked of association and that
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between my biography and as in the insistence of the compañeras and the coordinators on
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the motivation that I was bringing, they told me that there was something very
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important there that I was denying myself and that and that in some way.
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Well, then the story of my family came in, which today is a
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little bit the core fiber of the movie. So yes I was always grateful
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for that transit and yes, signing the film, of course it was modified
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and that somehow in each of the scenes and things we could carry forward and
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those we couldn' t carry forward, there was a lot, I wouldn
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' t say volantazos, but I was movement that I think most of all
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became evident in the montage, in what I saw most clearly, was in
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the montage in the decisions we made, in montage of how it was changing
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the story of the film and what surprised you of those changes during the course
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of the filming. And well and later and from the testimonies besides that you
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were getting to put together this documentary, what surprised you and that' s
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why you tell me that you recalculated, but I imagine that also in that
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recalculation came this not some surprise, I imagine yes, certainly, in the
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process of the documentary, for me it is always like a bet in abyss.
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There is not something that a hypothesis is set in motion and that starts
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to play, but then there is everything that happens, all the reality and
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way that makes you always awake. Not in the face of what I think
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I was afraid that certain questions, perhaps of trust or surrender of the protagonists,
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would not happen as they happened, and that was very interesting. How
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they opened up and how the process of going along in trc rass and so
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going along with them was allowing that each time they opened different dimensions of their
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private life. There are many things that we may have signed and not left
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in the film, also for certain care. In part, I was surprised
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by the opening of my family, which was like one of the spaces that
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seemed more complex to me, because that familiar closeness, but that kind of
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distance that apparently has the question of approaching from another place, to approach as
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a documentary artist with other questions, with a documentary device. I thought maybe
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there was something about that artificial issue that could somehow interrupt, and yet it
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was quite the opposite. There was as a playful proposal to return to certain
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places that were perhaps not so busy. And based on that, it was
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like opening boxes where somehow I saw that both my old man and my brother
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started having conversations and exploring back and showing up on the table sharing things that
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they never shared. Thirty- five years. So that kind of thing seemed
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very striking to me. The movements that happen when you finish filming, when
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you finish, you turn off the camera, which a little bit of the
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film tries to replace in some devices that have to do with subsequent and previous
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talks of filming. That remnant that remains that the documentary encounter has a lot
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of as a chemist and there is something that sometimes happens that is residual and
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that happens after it ends, the Chamber goes out. And there' s
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some of that that I found interesting to bring in, and the movie brings
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back that dialogue that remains for people who were part of a physical situation not
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and what somehow wakes up I saw a lot. If I have to think
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about issues that somehow surprised me. I saw many men with a lot of
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desire and I would say need to talk that before more uncomfortable questions actually were
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like opening places that in many cases told us that it was the first time
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that they talked about certain topics and they saw them with almost moments they have
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thanked us talks that you said, but you were the person who opened here
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confidentially to people who may not know you and you started to open up all
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this space of your intimacy. And what, deep down, I feel is
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that there are many tracisms, a lot of loneliness in the face of these
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taboos, to these places that are somehow not so ventilated from experience for men,
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it was not experience of masculinity, but of the experiences of people who
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are male and that, supposedly that kind of emotions, of situations, of
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fears, of discomforts, of uncertainties, of not knowing, for example,
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they are not very enabled to these, as a seal in, not knowing
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if it takes end of month in all that I have to know about parenthood
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and I don' t know of all that it costs me to sustain and
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I don' t want to hold anymore, but I' m supposed to
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hold everything. It' s like there' s a lot of places I
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think are very unshared. So, like suddenly seeing them open up in that
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I felt like some relief from some men being able to talk about some things,
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and that surprised me a lot. Big men too aha ah well,
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of course I was going to tell you because maybe the young people are a
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little more used or trained, and a bigger person, a bigger man,
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let' s not say, has another culture, another education. Not now
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it' s a men' s movie. Look why a man should see
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her. Just yesterday we had a screening and a talk in a psychiatric neuron
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that was for a trans multidisciplinary team and there were quite a few men and
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I was telling them that one of the things that I found interesting that happened
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with the film is that many men see it with friends, that go men
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with their partners and that if I had made a film that is finally a
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movie that women see who want to take their boyfriends or their brothers or their
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parents, I would feel that somehow there is something that is like there is
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something that did not fulfill, that could be perfectly. And what surprises me
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is that a lot of men communicate to us, that there are men who
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say. I want to go with my friend, I want to take my
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dad I want to show my friends. I think the film certainly has a
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critical look, but a really interested question about the male experience and it comes
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closer, that is, it approaches with genuine interest and I think there'
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s something of that that that doesn' t. It' s not a
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movie that has a puzzling look at the male experience and is interested and I
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think you see it in the protagonists of the film you can see it and
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it' s what I see now reflected in the viewers, that there are
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a lot of men who write to us later to the instagram and thank us
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for the film or want to go with friends or tell us that they stay
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made. And that surprises me. I mean, it was something I didn
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' t expect, I didn' t know what was going to happen at
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all, and I' d say it' s one of the things that
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makes me most happy about the movie, which is a movie that men and
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men and big men are also interested in watching, because I figured women were
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going to be interested, because it' s like a theme that constantly challenges
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us, not that you look at men. Sure, sure, good.
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So, almost a year after it premiered at the Women' s Festival and
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film was the debut of your film, then a lot of questions begin to
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be answered. I mean, you' re telling that not about viewers and
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viewers and how they react. So, well let' s hope that next
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Tuesday at 19 o' clock there in cinema Arte Cacodelfia, the same thing
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happens and good you will be there to present the film and to have your
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meeting with another audience in this cycle of Argentine directors, Lucía luber Que,
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and thank you so much for joining us. And we' ll see you
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next Tuesday at 19 o' clock at Cacodelfia cinema. Good thanks to Vos,
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Julia and thanks to GPS for having built this beautiful and so valuable cycle
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and for putting us to dialogue also with the spectators, which is something that
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is very much needed, especially at this time. That' s the idea.
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We' re moving on to Radio Audiovisual GPS. That' s me
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when I was ten, and that' s my neighborhood where history comes from.
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What do I want to tell you? Here' s a cover that
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lime girl. I see it changed since you' ve gone cold da and
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you' re fart. It' s my bitch, that generates here I
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' m going to change school Juan and the less we cross them the better
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for him and for everyone. They watch the whole movement. What time I
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got out, how many are the family, the whole move and you'
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re gonna have the sticks. I know something, sir You have phrases.
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I' m frigid. That' s why they know him. I went
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on week after week to go costs or then what happens Records. Camila Tucker
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finished the post- production of La Danza del Impacto, a comedy in which
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she resumed her role as director after the collective experience of UPA three, shot
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and premiered in two thousand twenty- one during Pandemia. Along with his co
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- equippers and friends and creative Tamae Garategui and Santiago Giralt. La Danza del
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Impacto is a production with co- production and participation by Martina Agarello and a
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team that includes Santiago Giralt himself in postproduction and Lorena da Monte and Pato Castro
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in co- star roles. We' re with Camila Toker. Thank you
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so much for joining us. Camila welcome, you' re hello Julia,
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how you' re there now. Thank you for seeing me. Well,
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it' s great news that you' ve retaken the direction that brought you
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to the impact dance. Well, the idea was growing. It is a
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good word, because there are many projects that always await their times. Times
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are often long. After signing tama de grate aid and last year we met
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with a group of actresses in the typical one. Let' s do something.
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Let' s do something and, well, some of my projects,
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as director, that they saw waiting for their time, well, they come
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waiting for it. Ho and I really wanted to realize. And in this
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damage that goes all over this group, Martina and I take a little baton
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to write this script scale with which we go out to film and a little
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bit to keep trying. This method of improvisation, which I like to labor
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and investigate, was something that occurred almost naturally in fact, who had a
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rapid and very rare development for such an independent film. We went to sign
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a part of the film with the group with a premise scripts improvising and then
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we entered with that into the physical bes, which gave us the possibility with
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the tutoring of Santiago turn the possibility as to grow in the project very quickly
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and well, then the post- production prize of the NI put us just
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to learn the whole in another film. So, well, it was the
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happiness of concretion, of trying and freely all these things, what you'
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d say dance is about, of impact, what can be advanced, what
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can be told without spoiler. Of course he is a visual artist who wants
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to represent the railway accident where his mother died, and he is going to
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do it through dance, film, spiritism and tamanim within all these languages,
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or he is going to use these languages as tools and resources to find the
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film he wants to tell. And this in terms of comedy moments, especially
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comedy, but also absurdity, does not give me the good feeling. For
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me, it' s something I like to work in the niche. I
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think humor is a wonderful thing because it' s spontaneous and it' s
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something that from humor you can deal with different topics, like horror, you
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can work different topics and reflect a little beyond reality itself. In that sense,
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in the sense of humoring oneself with the strategic and the tremendous, one
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can reflect on that and it is a way of dealing with representation in this
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case, in the case of the film, the idea was precisely to be
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able to cover the subject of representations from different places. And always that humor
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makes it possible to think at the same time of those systems of representation with
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certain, with a certain grace, with a certain irony, about those same,
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not in the same methods of representation. I' m just imagining it,
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but I' m already imagining it. The impact also reflects on the
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office itself, your own office as director, as an actress, exactly yes,
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and it has to do with that, with the different forms of representation
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where not from a film, a dance or even a tamanic act, are
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collective activities where in reality one seeks the possibility of escape, not a representation.
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It involves this thing of finding the escape of metaphor, thinking beyond literality.
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And yes it is the search for an artist also now well, in
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your last solo film, let' s say as director, it was the
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death of Marga Mayer, a western who is in Indian tip. It was
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filmed I repeated locations a thousand times. I' m not going to make
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many movies there or your place in the world is Punta Indio, then with
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a completely different proposal, but it was also a very inspired place and this
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twist in the genre from Margamayer was a pardon. This shift in gender change.
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He motivated it fundamentally because Marga Mayer' s death was like a western
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police officer in a sense. Yeah, he was a police western. They
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' re different searches for me. I wrote a lot of humor, something
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of the absurd. I liked the Margamayer to try something of the police,
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which is a genre that fascinates me, and the wuest also this field context.
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But let' s say in this ally of impact maybe it' s
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like Sister Maduna from my first solo movie, which was a black branch,
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which basically as a production system, was very similar also with five actresses in
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a single location sometimes on sale, where the fantastic ones also entered playing between
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the disturbing, humor and error. This is a much more mature film,
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because we arrived with a much more armed script to improvisation and we were able
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to synthesize perhaps the story. I think I believe that in a more mature
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way. But there are different searches that really nothing as an actress, as
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a director or as a screenwriter, interest me to investigate certain topics or certain
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points. These own points let' s say what I also like to see
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as a spectator. Aha well now, on this turn, I notice that
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there are names that you usually work with in the impact dance that you'
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ve been working with for you. The formation of the teams and surround you,
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of people you usually work with is a fundamental element when it comes to
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facing a movie watch. It happens to me almost naturally along with people with
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whom we achieve a common language. In this case two very important characters are
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repeated again, Fernando Kurts, who make the original music with which I am
23:45
working from Ramanera also in the death of Margaman and also in this and in
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some musical contributions that we made together, because I feel that we say there
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is a mutual understanding of the slope of scene, of the spirit of the
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film, of the actions that we generate together. Another of the people the
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good Senna Onelli, good Chi, the editor with which we also share a
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syntax of a structure, the thought of similar structure Kenchies I say that he
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is a very punk editor and that serves me greatly, because I am very
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fanatical of synthesis and good with him we can find in synthesis. It is
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a syntax with which to tell a story in a very simple way and with
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very few elements, that is like a great challenge and health of what I
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like to try. That, besides being able to restructure and restrict in the
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assembly, arises the impalization. We do not arrive in improvisation with a clear
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premise or that improvisational slogans are a scene that with the need for certain scenes,
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then in improvisation the scenes and characters are developed and then in the good
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montage is rewritten a little with all that material to look for that synthesis of
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which I told you, and I think that with good chi we already find
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it there a way to understand ourselves very quickly effectively poem. Now, Martina
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Garello has an essential role in the film, in impact dance. I mean,
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she' s a co- writer, co- producer, the protagonist,
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the protagonist of the story. There were movies without her. All the
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elements of this film are fundamental elements. But me because that' s how
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the film was formed with Martina, too. Above all, let' s
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say we face the film together, each defining the roles of some parties,
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such as production, which was good. Basically, in this system of production
25:57
so small and so simple, it was to shoulder the cost and advance of
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the film in the script was fundamental. We did it together, too.
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In fact, on the first idea, the idea of Seed, Martina brought
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it, and then we developed it together. So yeah, I don'
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t know if you didn' t open Martina for us, of course,
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it' s the other leg and then in the lead role. But we
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also found a very interesting and very fluent language, of a lot of going
26:37
back and forth and in terms of the scripts also as we went on the
26:45
film as we were writing or scripting as we were riding, and we were
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tipping with Martina scenes that we needed to finish counting on, which was fundamental,
27:00
because the work did not end in filming, but we worked together in
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terms of ion until the end. So yes, it is a film that
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is of the two and of all, because in reality it was this,
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it was a collective experience that was scarcely what my most printed of cinema as
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matter, this sum of knowledges and conditions and inspirations that are doing something to
27:32
a particular film by these elements that conjugate only when pre- established the idea
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or this initial that has it. If all this that develops and is magnified
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with the particularities that each one of the film brings, of course well,
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Camila Tuker, very soon then we will have important news about the dance of
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impact this comedy with Martín Agarelo, Lorena da Monte and Pato Castro and we
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will follow closely the development. Congratulations on this English Chile evance also pardon.
28:08
Fine. Well we' ll be here, so watch out for everything that
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happens with the impact dance. A big hug and thank you for joining us,
28:23
Camila. We' re still in chief Julian. Thank you so much
28:29
for gp SE Audiovisual Radio. That' s the story of my hatred.
28:37
I' m his impressive permit. The manager' s place was recently set
28:41
free. I' m asking for Dreams. It looks like it' s
28:48
gonna be a big deal for everyone there because he' s a son of
28:53
I don' t know who, because it' s nice. It'
28:56
s obvious they' re going to give him a lot of fairness and opportunity.
29:00
We are not in the eternal for the post. It' s no
29:06
longer important for your husband to be the brother that everyone loves the most.
29:10
This is a cut- off company and something or what you have to be
29:21
wrong with holding up so much here you have to shoot. One saw each
29:25
other co matris tyrants, others saw combat, have you and we' re
29:30
already brol not a rush to revondation. It' s especially like us,
29:36
don' t do anything. I have a rough wolf plan in grow U
29:42
is a bomb a car. I am now there are two types of people.
29:53
This guy who' s you. One day that I was with mom
30:11
in the chat, she was painting herself was a very pretty woman and I
30:21
got, naturally, out of seven someone who was a fucking Jew. My
30:26
mom grabs and tells me not to say that because your father is Jewish.
30:33
The two Marieta, a film by Poly Martínez caplum We are with María Onix,
30:48
director of a documentary about Jorge Polaco, one of the attractive Argentine proposals
30:55
that will present and the most difficult, the Festival of Independent Cinema Buenos Aires,
31:02
has already advanced something. Maria Onis is a screenwriter, music writer,
31:07
composer and filmmaker. Pleased to welcome you here on Gp SE Audiovisual Radio.
31:11
Maria. How are you, how are you, how are you good,
31:15
in principle, what prompted you to dedicate a documentary to Jorge Polaco. I
31:22
was a student of Jorge at the University of Cinema when I was studying script
31:29
and he gave the direction of actors and there was a lot of talk about
31:34
the seminar because it was a subject, because it was always there were scandals
31:38
around Jorge. Then I scored and I had studied a bit of theater as
31:42
well and nothing was very funny and very inspired. She was very inspiring to
31:48
her classes. And, well, we talked to you like a relationship and
31:52
I saw all your movies and I was fascinated. And there, well,
31:56
then, after a long time to receive me, and that occurred to me
32:04
to make the film and loved the idea and in the process Jorge died and
32:08
well, then I continued. But most of all, he got to know
32:15
him watching movies. The film is mostly from his work, from his films
32:20
more than a biography, not a portrait, but not so biographical. More
32:25
about the topics they were talking about and what impacts you or interests you about
32:36
their work that identifies you. Okay. Jorge was a very brave person,
32:45
very open paths. He always spoke against institutions, against morality, so he
32:53
won hundreds of enemies, so he was persecuted. He was the only director
32:59
sens in democracy. With the film Kingrgarten goes beyond rebellion his proposal, not
33:09
even personally. He is a person who all the time did like fires and
33:16
provoked you and made you uncomfortable, but with grace and was very particular,
33:28
especially that ability to rethink morality from scratch, that one that to all of
33:34
us costs a lot and that he did it for me with humor and in
33:42
a very funny and very misunderstood way. Also not because, even as always
33:49
using grotesque, which is something that most people get the impression far away,
33:52
we are very used to the classic hero with little. What he was doing
34:00
was something totally said by himself anti- demagogic, that is, he was
34:07
not looking for the public to worship him, but the public would stay a
34:13
little as convulsed. Yes, it was, in a sense, a revulsive
34:17
cinema, that of Jorge Polaco, something sought, deliberately sought, not if
34:27
revulsive. For me it has as a connotation a little bit, like disgust
34:31
and as a negative in social use, and I believe that he, for
34:42
example, showed a person passing his floss. It' s something we all
34:49
do and when we do it in front of the mirror, it doesn'
34:52
t give us, because it is our bodies. But when we see it
34:57
in a movie, on a screen, we say I travel. I want
35:00
to be seeing this thing from whatever it was. That was one of the
35:04
greatest effects George was looking for, which was that projection of how we endured
35:12
our old age or the people we wanted. But when we see an older
35:21
person naked in the movies, we say no. I don' t want
35:25
to see we' re used to seeing you all the time. The stoized,
35:30
stoized world, but on the screen, on the road, the forpheum.
35:35
I think it brought those two things closer together, and that seems to
35:38
me to be one of its best effects. And what is the theme of
35:45
your documentary about Jorge Polaco? There are several but above all this breaking with
36:00
morality and as blocks is a chronological line. A little bit of each film
36:06
is spoken of and as some is a rather essay film, because there are
36:13
philosophers and writers and thinkers who talk about Polish. You can see pictures of
36:21
all his films. We digitized all the negatives of a seismic of his films
36:25
that do not exist copies, there were no copies until now, more than
36:30
very bad of hc So that will be seen his films in very good quality,
36:36
after thirty years, after the original projections. And that' s good.
36:45
Basically the church, the institutions, the family, as an enemy,
36:52
the Church, the religions, as we say all the mandates and the struggle
36:59
through the data, the relationship with the body, the theme of old age,
37:07
the desirable bodies of old age, which is also another of the great
37:13
themes of Polish, with title that was his typist artists. Well, they
37:22
' re getting a little touch on all these issues. The axis is rather
37:23
thematic in the chronological line, but now with the documentary it is finished.
37:32
It' s the final version. Or you think it' s a project
37:37
under permanent construction. That could apply to anything you do. You always say
37:46
ay this would have done it that way. In fact, today I ended
37:52
up in the color of the film and I give it the vientes Yes,
38:00
you could be Polish to make five more movies and that and a cut of
38:04
four, the movie honora and half an hour. But the first court lasted
38:07
four hours and there are thousands of sub- themes besides what could be done.
38:10
For example, the whole kindergarten thing. It could perfectly be a film
38:19
to look at itself, yes, because it was a delusion where almost the
38:22
mind company, thanks to Jorge Polaco being Bor, an absurd persecution because besides,
38:30
nothing happens in the film. The scenes that are talked about really don
38:34
' t matter. We' ve seen far more strung- up movies with
38:43
much more politically incorrect things than I really am. Well, let' s
38:49
not go any further. Then let' s wait to see this documentary Jorge
38:55
Polaco, María Onís. Thank you very much for this advance and well,
39:04
we will also be attentive to this debut in the Baffisi on this particular director
39:12
of Argentine cinema who well died on February 20, two thousand fourteen, a
39:17
decade ago at sixty- seven years old. Thank you so much for joining
39:23
us, Maria. We' re still on Gp SE audiovisual achora radio tomorrow
39:30
can' t be with ugly ones, but I think early your year is
39:32
so dull by the inauguration of the new temple. You think I took care
39:36
of the last Sunday. Let' s stop at reason we can' t
39:39
go straight. I can drive if they' re tired. You are not
39:43
to speak encouraging and I lack to teach you things still good let' s
39:54
walk, sure, there is a people near patience to throw the good lord
39:59
will not abandon us now. Listen to you, Don José or whatever I
40:08
need this your wife. No. No, no, it' s my
40:12
wife, my daughter Elena. How much do you calculate with boldness, Lord
40:17
I get in Olaca don' t worry about us. We have time and
40:23
where you are nowhere. Neither do we praise, Lord Blessings, brothers,
40:32
Blessings, brothers, his brother, but what is your name? I'
40:38
m Emilio. It doesn' t hit you in the face. You don
40:40
' t get the punch. You know, I' m going just like
40:43
Lenny. God gave you a mighty beautiful spirit. I' d like to
40:49
invite Emilio to a baptism here where Pastor Saca is careful what his head is
40:54
thinking. There are many evangelicals in the people, just as there are you.
41:02
Lenny wouldn' t walk. The wind that sweeps with direction of Paula
41:12
Hernández, hailed in Toronto and San Sebastián? The wind raging premiere in Salas
41:20
Thursday 21st of March. Paula Hernández opens tomorrow Thursday twenty- one her disturbing
41:34
rod movie, the wind that ravages, starring Spanish Sergi López, Chilean,
41:38
Alfredo Castro, Almudena González and Joaquin Acebo. The story follows Leni, a
41:46
young woman who accompanies her father, the reverend person in his evangelical mission.
41:53
However, there is an accident with the car that stops them in search of
42:00
provisional help and leads them to the gringo workshop. We' re with Paula
42:07
Hernández. Thank you for joining us here on GPS audio- visual Radio.
42:12
Welcome Paula. Thank you, Julia, thank you very much. Well,
42:16
a few hours from the premiere of the wind that ravages, the first comments
42:22
have already appeared. You don' t criticize them. You' re interested
42:28
in someone else' s opinion. No, no, no, no,
42:32
no, no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no,
42:32
no, no, no, no, no, no, no. There
42:34
we made the van premier and between yesterday and today it' s like a
42:37
waterfall of things that are coming that you don' t have time to read
42:43
them, but many of those I keep keeping to read later. And nothing
42:46
everything that' s coming for now is very nice, it' s very
42:54
welcome everything that' s happening with the wind that' s raging. Not
42:59
now those comments. I would say rather a point of view, a possible
43:05
interpretation points out that the wind that sweeps away can be seen as the final
43:09
part of a triptych that started with sleepwalkers and cyamesses, two films of yours
43:17
you have an explanation, an interpretation about this looks at the truth that the
43:25
moment you do it you don' t think or are so focused. You
43:30
understand that there are things that interest you that, of course, can appear
43:34
in the other films, but you do not think punctually situations, flat scenes
43:43
that can refer to another movie. Some of those observations were made to me
43:45
by Rosario Suárez, who is my editor, while we were editing. Be
43:50
the sleepwalkers, these the cermezas, let' s say something about them continuing
43:54
to cross the movies. Beyond those specific issues. A lot of people told
43:59
me this at this time and I think it has to do a little bit
44:02
with good to get back to working family universes and ties and situations a little
44:10
locked up in a few spaces. In nature it also plays an important role
44:15
in many of these films. Mostly sleepwalkers in this one. I think that
44:20
in that sense I can unite things and that this film also opens up to
44:27
a more different world, a little further away from what I had been telling.
44:31
Yes, the drifting wind has some elements like Wenstern, at times,
44:37
not certain schools, certain changes disturbing things there in the countryside, in the
44:45
middle of the countryside. He does have that good thing. In principle,
44:51
the sensation of filming in the open air of being permanently in contact with the
44:57
weather. Let' s say, while there are many things that are from
45:00
the script it also happened to us not being in the shooting situation that you
45:06
are permanently adapting to what is happening. We knew the same from the beginning
45:08
that there must be enough post- production work to be able to tell that
45:15
dramatic curve that also has nature. How is a duel between two worlds,
45:20
Not like there is something there antithetic, in these two families, in these
45:25
two characters, mainly so I hadn' t thought of it as western,
45:30
but it has many elements like that, at times the image is also very
45:37
worked, well in that color, that turn to the reds and the ochres
45:42
that there are in the images of the wind that sweep away. No,
45:43
but that feeling of desert abandoned. Well, because the movie The Reverend is
45:52
a nomad character that runs through you two together a little far away and half
45:59
- lost villages where there' s nothing at all. It' s not
46:01
just road, road, road to nature, a little house, a middle
46:06
workshop out of nowhere. But it' s more like the desolate landscape,
46:13
situations where you find other people. Now, the wind that the universe,
46:17
the world it relates, the wind that sweeps is counted from Leni' s
46:24
point of view, the protagonist is not young, why you were interested in
46:34
approaching history From the feminine point of view. I think when I saw the
46:42
novel, there were two things that didn' t just close me down and
46:47
move her to the movies. One had to do with the structure of time
46:50
that the novel has and the other era did not want it to be an
46:55
omniscient narrator about what we were telling. The novel has many comings and goings
47:00
in the life of the characters, but they focus more than anything on the
47:02
two parents. And while I was interested in this masculine world, there is
47:09
something that is already present in the novel. It' s how Lenny sees
47:14
these men, or how Lenn And sees his father and how he finds in
47:17
the relationship of gringo and tapioca a differential in terms of his own history.
47:23
They don' t work a little like mirrors you can look at. So
47:29
there I said well this that is somehow inside the novel, or the desires
47:34
of law of certain freedom are also counted in the novel. It seemed to
47:40
me that it was attractive to put that girl in development, in growth,
47:47
going out of adolescence to become a young woman with many elements of childhood also
47:55
in her behavior and nothing and see as a younger generation new woman looks at
48:00
these men, who also have as characteristics something more conservative and in some sense
48:07
more of another. So I say there' s a little bit of a
48:12
decision that I' m a woman watching. Yes, it is also the
48:15
one that, well, we are not going to advance details, but the
48:22
one that in some way challenges also certain ones is the one that breaks in
48:30
principle by their own need. But in that voice there are a lot of
48:32
other voices. I think it has something to do with what I said maybe
48:37
in a few hours interviews. There is nothing of those generations, of the
48:40
younger girls, who have a great openness in their persecution and a lot of
48:46
freedom in the way they look. I think that, while well, my
48:51
generation has worked hard on issues of having a place and parity and being able
48:57
to get away from certain structures. There are many things that we also gave
49:01
them as a naturalized medium. It seems to me that the younger thought comes
49:06
to break some of that and I found it interesting in this universe so you
49:14
saw that there is a dogma and a fanatical thing, there is a harmonic
49:17
thing in the kind of thought to someone who comes to break and to be
49:22
able to say and stop being just a look and be in the background.
49:24
It seems to me that it speaks of something more universal than the specific story
49:28
of Lenia, the rebrende. That' s also what you saw in the
49:35
screenings with audiences, for example, in San Sebastián, in Toronto, which
49:38
was something you were a little branded. These comments were emerging. There are
49:45
also some things that work in a conscious way. When you write, you
49:50
build a movie and there are others that are like little subjectivities or things with
49:58
less precision that are more unconscious, which may also determine to put together a
50:04
little what one did in contact with the other, not as with the others
50:08
or the others. And the truth is that the repercussions of the film in
50:13
the festivals was very similar and although they are the Saxon world, it is
50:19
very different to the world that we live in San Sebastián, there were reflections
50:27
on the similar film is that they also occurred here when we were in Mar
50:30
del Plata. And I sense that something similar is going to happen also in
50:35
what you are already beginning to perceive people' s comments. Well, the
50:42
subject of the links is very important in your filmography and for you it is
50:51
almost in constant subject matter. Let' s say this is on a conscious
50:55
level too or it' s something that arises when you decide to face a
51:06
story, they appear naturally general, I mean, I don' t start
51:09
thinking about a story I want to talk about these issues, but it seems
51:15
to me that that' s something that' s in me and that maybe
51:19
there' s some of those stories that summon me, they' re adaptations
51:23
of some novel, that is, so specific that they have to do with
51:24
these questions or these things that I' m looking into. And today I
51:27
also thought that some people told me that I saw things of rain, that
51:30
I saw things of inheritance, that I saw things of I don' t
51:35
know a love, although the strongest relationship is with sleepwalkers and with cyapese.
51:37
They mentioned some things to me and, well, yeah, maybe it'
51:43
s something that' s also in the beginnings, where maybe some people are
51:47
less clear about what they want to tell or how they want to tell,
51:52
because the beginnings have that thing a little bit more search. Yes, but
51:55
they do also talk about those characters and about and say they are looking for
52:01
who they are beyond the situations that surround them or that condition them. I
52:09
think maybe one thing with brighter movies in relation to maybe the last ones,
52:15
where maybe I started to dig more into what you don' t see from
52:19
the familiar worlds of the cicles a little bit like orgating I say between the
52:23
folds of the sheet, not like that thing that' s not so into
52:28
the idea. Yeah, yeah, good notes. In previous conversations about the
52:32
wind that ravages, we stopped in the prophetic power of the film. At
52:39
that time I say because I was well anticipating great shifts from the emergence of
52:49
these media and messianic leaders, I would say, no. Now there is
53:01
one more element that kicks the board in this present, because we are going
53:08
through and it is the progress that is taking place, or attempts to push
53:15
forward feminist conquests, the resurgence of machismo also by the hand of this type
53:22
of characters, of political leaders in general. In that sense, you are
53:30
surprised that the film also wants this dimension. I don' t know if
53:36
I' m surprised. I am surprised at the dimension of everything that is
53:39
questioned, the individual freedoms, of public policies, of collective issues, so
53:45
with blows, that I gayed the bucket of cold water all together not but
53:49
I am not surprised that there exists the other day of conversation armed concervo in
53:53
an interview that we gave together and it is seen was like good, one
54:00
more or less lives in a universe of people in which think more or less
54:05
the same let us say some of the other situations, but it is like
54:09
a look at the world that more or less belongs to that. Slva would
54:13
tell me when I' m going into rivers suddenly, I find things much
54:17
more conservative, and not at this moment, some time ago. I also
54:22
don' t like how you look at certain advances that for us can be
54:29
good. Then I think there' s always something kind of crouching. If
54:31
you look a little bit at the history of humanity, there is something half
54:36
cyclical, of course, with different versions because today' s rights are not
54:40
the same rights as they were a while ago. There were no media at
54:45
that time and now they exist. It seems to me that there are changes,
54:51
but that conservative ideas in some way, with their variables, are always
54:54
there. I' d say well, in the media there were, what
55:00
maybe what didn' t exist with so much viralization and power is social networks.
55:08
No yes, yes, I tell myself what everything was, not just
55:13
half a graph or radial, but the permanent bombing, that you have information,
55:20
that you permanently have to be checking without viridi with hatred. It'
55:24
s not a little crazy what happens at the information level, but, well,
55:30
I think things changed, but this isn' t issues that, well,
55:35
they' re just happening here. There are no replicas in many parts
55:37
of the world of revisiting earned rights, as it seems to be something you
55:46
have to look a little further outside our balcony and we will see it as
55:50
well. Yeah, yeah, yeah, and be more attentive. Not good.
55:54
Paula Hernández, director of the wind that sweeps away tomorrow is presented in
56:00
twenty- four rooms in seven provinces of Argentina. Hopefully this wind and this
56:07
storm that today is going through Buenos Aires, razing Buenos Aires, is the
56:15
omen of a great premiere, because it is a great movie And well,
56:22
as we say, we always have to watch it in the cinema. There
56:27
you have to give it in the cinema, you have to see it the
56:29
first days. It is the way to guarantee the continuity of the films and
56:32
it seems to me that at this moment of so much questioning also the culture
56:37
of what we do is important. Well take sides in this thing that is
56:45
happening and go to the movies, not just because of my film, I
56:47
read it for many Argentine films are being premiered in these times. That'
56:52
s good. We' re saying goodbye to Paula Hernández from this new audio
57:00
- visual GPS broadcast to the radio and the premiere. We recommend once again
57:04
fervently go see the wind that sweeps away from tomorrow and, as we always
57:09
say, but today more than ever, see Argentine cinema until next week.
57:16
And thank you for joining us.