Latest / GPS Audiovisual / GPS Audiovisual T05 P11 - ENTREVISTAS: SERGI LOPEZ, INES DE OLIVEIRA CÉZAR, INGRID POKROPEK

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GPS Audiovisual T05 P11 - ENTREVISTAS: SERGI LOPEZ, INES DE OLIVEIRA CÉZAR, INGRID POKROPEK · GPS Audiovisual

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PS audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, a treasure, a program with a gender
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perspective that nucleates the Argentine country' s film industry, will never be what
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it is until now. We, from audiovisual GPS, continue to bet and
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believe in culture as a fundamental pillar of the development of a society, a
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culture that is plural, accessible, inclusive and with the support of the State
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for its development. Welcome to GPS audiovisual Radio, with the journalistic production of
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Norberto chab and the driving of those who speak to them, Julia Montesoro,
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on Tuesday 19th March continues Argentine directors. The cycle of national premieres run by
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women is presented every Tuesday at 19 o' clock commemorating Women' s Month
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in Cacodelfia cinema, organized by Genre Dack and GPS Audiovisual. The title scheduled
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for next Tuesday is Baldío de Inés de Oliveira César. It is the latest
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work by Mónica Galán and also features performances by Gabriel Corrado, Nicolás Mateo and
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Rafael Spregerburg. We' re here at the Topic radio studios with the director
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and screenwriter of Baldío Inés de Oliveira César. Welcome. Thank you very much
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for joining us without it. How' s Julia always nice to see you
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to Norberto and give me a ride around here. If you' re already
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on schedule, we' re lucky for you, we' ve got you
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a lot. Okay. Valdío is the life of an actress told by an
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actress and cinema inside the cinema, if you want, and among so many
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other meanings, there is also this question that Baldío returns to the theaters.
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Yes, what is the validity of Baldío at this time. And at this
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moment, Baldío could tell you first that he is dealing with a problem that
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could not be solved either at that time or in this one, which is
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the problem of addictions and how the State, precisely speaking of the State,
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of how the State positions itself or what aid or support the State gives for
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those situations and which do not have to do only with the economics, but
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have to do with a way of seeing that disease and with a way of
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assisting the family, not only the one who suffers it, because the own
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is that, when there are issues of addiction, if the person who suffers
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it is more than eighteen years. The law that was in force up to
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now, let' s say, provided that the person, if he did
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not want to be interned, if he did not want to be treated,
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if he did not want to do anything for himself, could decide to do
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nothing for himself until he burst or died in the face of that lack of
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protection. We could say legal a family, a mother with an 18-
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year- old boy, for example, who sees how he is legally killing
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himself, has no state support. That' s what containment means. Sure.
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Not sure. There' s no containment, because, as they'
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re difficult cases, yes, you' ve seen good fix yourself as you
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can somehow. That already failed. They tried to implement things that were not
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implemented either. Then the families, the mothers, the fathers, looked very
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lonely and I would almost tell you that there were even times when the state
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worked like the enemy, which somehow put the problem of being able to do
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nothing. You saw Then they are situations that pose a despair in the case
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of a mother and in which a mother is able to do anything for somehow
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not. So the film that he takes is a woman that you see just
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doesn' t have any economic problems. The problem is not money. Not
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because you saw everyone think the only problem we have is money. Money comes
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and right now we have a silver problem, but we have many other problems
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that are much harder and more complex. So, somehow, in the movie
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what you see is that with silver we just don' t solve this issue.
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It' s an element. The State must be present for these matters.
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So that, on the one hand, and, on the other hand,
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what I was interested in doing in this movie was telling the disease not
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from the hero, because in general, the addict, like the hero of
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history and movies always focus on the hero or the hero. Well let'
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s say it' s the same thing that you suffer from, with everything
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about adventure and suffering or everything that goes with it, everything spectacular that can
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go with it. And just what interested me was to talk about what exactly
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happens to a mother who accompanies such a situation and who is obliged to do
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the backstage of all that, with enormous suffering, with a daily struggle and
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with a job that, moreover, has to attend and sustain, as in
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this case, because she has to go the same way to film that film
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class ez that she is signing. He' s got to grab her anyway.
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It has to endure just as a reading day imberbe, which is a
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more or less an oligophrenic with delusions of grandeur, which is something that good
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that can sometimes proceed to one. It happens, et cetera, et cetera,
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et cetera. And see all that frivolity while she' s going through
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extreme situations that she doesn' t know when her phone' s gonna ring
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and who' s gonna call her to tell her what or what happened to
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her son. Something, for example, not a good bond, not the
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bond between mother and mother child, of course, because it is a bond
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of great love, but there is also a very strong attention because if your
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child to get high, he becomes a dangerous person for himself, but for
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you also because he can not even enter your house, that steals everything he
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finds, for example. Then no situations are generated. I wouldn' t
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tell you that they are of love, hatred, they are of love,
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despair of saying what I do, and not even the private therapist they hold,
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and not even the father can help contain this woman who ends up being
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alone, the one who reaches the end of all situations. No. Then
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he also speaks of the place of woman' s loneliness for certain things,
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for certain roles that society gives him. There is also this theme in the
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film for something, the boy will get high, not how always the guilt
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of the mother, the mother, something bad will have done, because this
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is very settled in society and it is very painful, because many times it
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is not that it really is not so, it is not directly so.
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Then on top of that mother has to fight to try to get her child
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out of any way and without containment. In addition, in some cases he
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receives a covert yes or cynical conviction from society. Then a little bit shows
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the movie to all the places exactly where she' s going. But the
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film is also very humorous, because everything that is her world of work and
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the stupid director who expresses something is fantastic in that role and all the fools
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that are there are really like comedy gags. Not because you see that thing
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would almost tell you that contrast between what she lives quietly and alone and you
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see all that world she has to lend herself to. No, and there
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really does work something that I feel the film needs, too. Not like
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you' re compressed a little because as terrible as it is what you'
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re going through the sense of humor, even if it' s the black
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humor, it' s always there, yes, it' s like part
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of good is also giving the exact viewer an air, exactly, because I
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guess that along the good, all the times that you' ve accompanied the
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empty exhibition in halls, in festivals, in cycles, this topic of what
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is expected of a mother, of the mother of an addicted son, must
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have arisen a lot among the questions of the audience arises or ask you answers.
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They even ask questions, ask you answers. And that' s where
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I also felt in the different presentations that there is as a silent condemnation.
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You saw in society, like this saying good, but the mother who will
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have made to make that child' s disease dresses and if that' s
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the starting point, it doesn' t serve the boy who suffers it,
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nor the mother who is desperate seeing the problem that arises and who is trying
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to find tools to help, to accompany, so that the boy can get
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better. I mean, it' s the fault. It' s never
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a good starting point. That buryes your objection more. It also ties your
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hands, it somehow erases you from the map, it pulls you out of
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the map of the possibilities of the action you' re being objected to.
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Then the solution comes through trying, thinking and looking for tools, thinking in
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lines that one had not thought of before, thinking about things that one did
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not make there be a similar accompaniment from the state, from what is health
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within the state. Well, right now that we' re going through where
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many very terrible issues are being played out from the absence of the state,
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I don' t ask you from the cinema field, because that' s
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where you play how you' re going through this situation and that' s
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how you' re living. Projects become more difficult, more unfeasible. Obviously,
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first of all it is nonsense what is happening, because precisely the cycle
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that is good at this moment is that it is a sample of everything that
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we have built in these last twenty- five, thirty years with this new
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cinema, that emerged and that could arise from the existence of a certain promotion
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of the State and that looks how it flourished in the way that flourished that
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our films began to make the most important of the international festivals. I mean
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at least Latin America. We have not been an example and we remain so
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then, I, at first was perplexed, you were perplexed, I could
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not believe such a level of brutality and brutishness. Besides, because really that
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you have an artifact that is valuable, that you see that it could work
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better, it doesn' t enable you to say ah no, but to
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scratch with you it could work better, it' s going to give me
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a job, then you know what better out there isn' t, then
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it' s like a simplification in mathematics. Well, at the top it
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goes with the bottom ready already and it' s not like that life and
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it' s not like that culture and it' s not like that A
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country much less Argentina, and it' s not like that art. Then
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it doesn' t work that way. And also, by taking a concept
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that is questionable, but I will apply it as to understand, the spill
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that produces audiovisual on an economic level is enormous. Yes, that is to
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say, even from an economic point of view. It' s barbaric.
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What they' re doing because they' re impoverishing, they' re impoverishing
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entrances to what' s also lysed because it' s produced, because it
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' s going, cinema produces. Well, it' s going to happen
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less. I was OK, well, there' s gonna be less of
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this job. No contributions will be made either to launchers or employees. No,
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I mean, it' s a sighted cancellation. Then that produces more
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poverty, gives us relief of any kind. Well against that, that cancellation,
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that attempt to cancel, then I say this, I add it to
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you by echoing your words. There is then the Argentine director cycle on Tuesdays
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at 19 hours in cinema art Cacodelfia next Tuesday, with this great film by
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Inés de Oliveira César Baldío. I recommend you go see her after the screening.
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He' s gonna be mad at us and we' re gonna talk
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a lot more. Now we keep, we don' t spoil anymore,
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we don' t score anymore and good and we defend. Then also the
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position of Argentine cinema and women and of women within Argentine cinema. We'
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re still on GPS audio- visual radio. Thank you very much. Read
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that one. It' s me when I was ten years old and that
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' s my neighborhood where history is born. What do I want to tell
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you? Here' s a stage that ends. I' ve seen it
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changed since you went cold, and you' re fart. She' s
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my bitch, that' s enough. It' s here you' re
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going to change school Juan and the less we cross them the better for him
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and for everyone. They watch the whole movement. What time did I get
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out, how many are the family, the whole move and he' s
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gonna have the stick and the robbery. Sir has use, too. I
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' m all fried and that' s why they know him the following week
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' s mulac. Tell or not then what happens Now we count more of
19:03
the correct car or records on the last day of your childhood. We invite
19:12
you to travel in time, because we take you right there accompanying nico on
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the way to his maturity. In a thriller in the middle, a film
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by Martin Gamaler, simultaneously premiered in the Comont cinema and in cinema rocha a
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la plata from the 15th of February, every day twenty- thirty hours we
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find ourselves also in instagram arroba between half point the film. We would have
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liked to know what was the last day of our childhood. Now tomorrow I
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don' t prospouse, but I think early on I didn' t say
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so dull because of the inauguration of the new temple you are that I took
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care of the last of Sunday. Let' s stop at the rose.
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We can' t go straight, we' ll drive myself if you'
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re tired, you' re not there to talk. Fomotal well and I
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need to teach you things. Let' s still walk safely. There'
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s a town coming up with patience. The good lord. He' s
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not leaving us now. Listen, you' re two, Jose or whatever
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I need. This your wife says no. No. She' s not
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my daughter' s wife, Elena, how much she calculates Yes, she
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does. If I don' t get it in olaca, don' t
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worry about us. We have time and I' m you guys nowhere.
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Praised missions, Lord or visions brothers, blessings, brothers his manni, but
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what is your name. I' m Emilio, it doesn' t hit
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you, it doesn' t give you much. I just like God didn
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' t give you a mighty beautiful spirit. I' d like to invite
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José Emilio to come here for a baptism where the pastor sac will be careful
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what your head is. In the village there are many evangelicals, just as
21:21
you are, the jokers are, if it weren' t for me,
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where I would be walking today. Yes, the wind sweeping Paula Hernández'
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s direction, hailed in Toronto and San Sebastián. The wind raging premiere in
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Salas Thursday 21st of March. On Thursday twenty- one the wind that razes
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the rod movie of Paula Hernández with prod of Rizoma of Argentina and Cimarrón and
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cinema Vinay of Uruguay, with four essential protagonists, the Spanish Sergi López,
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the Chilean Alfredo Castro and the young Almudena González and Joaquín Acebo. We are
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with Sergi López, who personifies the gringo, the owner of an improbable workshop,
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the mechanical workshop on the River del Campo and the father of a teenager.
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Thank you for joining us, Sergi, a pleasure to welcome you here
22:37
on Gp SE Audiovisual Radio, a pleasure for me to welcome me here on
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Bruas Radio Julián. This Saturday, the 16th, you present yourself with the
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theatrical monologue non Solum in Barcelona. You' re in that city right now.
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No. No, no, no, now I' m in mine
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that is Violovela and the trou that is forty- five kilometers away Barcelona and
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sixteen. Indeed, we added ourselves to make this monologue a play, since
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we premiered in two thousand five, which is a work of creation and that
23:11
I was in Buenos Aires a couple of times in Timbre four. It represents
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how clear some Argentine has seen it at the festival, at the festival of
23:23
Timbre four, no yes, well Timbre four, yes, there is a
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festival here in Catalonia that is high season. Yes, in twenty- four
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I had fallen with many of his productions here in Catalonia and they had an
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idea to make a high season in Buenos Aires And well, my show as
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I am alone, because it was easy to move and I was lucky the
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first year. The second one comes two years in a row. Well sorry
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for not remembering, but don' t worry high tempora in Timbre four,
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which is a yes, an essential presentation is Buenos Aires theater. Well,
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let' s go to the gringo. Then you contrast in this lonely and
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osco character that excited you, that resonated in voice so that decided to come
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to Filmar, Argentina and Uruguay. Well to see you come to the firm,
24:25
to Argentina and Uruguay in itself is an idea that interests me. I
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mean, I find it rather a good plan, a good plan. But
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it is also, this time it was a thing that is the same.
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It' s unepic, it' s unexuberant, it was pretty simple.
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Paula Hernández, the director of the film and the one who had also written
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the version of Selva Armada' s novel, had translated into a film script.
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She sent me the script and told me that she had been making films
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in which I had participated in France, in Spain, and well that she
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transmitted to me her enchanted or enchanted thing, that she would be able to
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work with me and well, in no more simple front. I read the
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script and the script is brutal. The script is awesome, not just my
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character, the gringo and this thing you say, not this character in so
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few words, but this human sponge. Also, good with this body moving
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around the world, this kind of not only that, but the heartbreaking but
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profound history, which talks about how language, how manipulation, how vulnerable people
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can easily be victims of radical populist discourses. Well, very topical, an
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idea very much gives the present, unfortunately, it was Argentine in a very
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emphasized way and in the rest of the world, but it was very simple.
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I mean, the story was brutal, the characters were amazing and nothing
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and out. For me it was a bust to get close to Argentina and
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try to get me off a little bit. This accent I have to tie
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up. Yeah, yeah, yeah, well that' s it. There
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is a work with very well achieved accents in the wind that does not destroy
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both Tusho and Castro in both. You did work it a long time before
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what it was like. We were working with Mariana, with a phony,
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with a girl, she was an audiologist. Yeah, yeah, yeah.
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We have the idea that Paula wanted to situate the action, although the action
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is true that the story has some fable, it has something not transcendent.
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If it is the year one thousand nine hundred ninety- two or the ninety
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- three or seventy- four or two thousand twenty- three, it is
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a bit of a temporary fable, but this idea of approaching between rivers,
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to the north of Argentina, is also a place near the border where there
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are these characters coming. Mine is called gringo, precisely because its accent surely
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of tin that was not born in Argentina, surely, but if we work
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very hard with Alfredo, also with his Chilean accent. Me with my Catalan,
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we try to erase a little clues to create this possible universe. Now,
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what a relationship the rural universe has that describes the wind that sweeps away
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your own experiences. Sergio, because the truth is that it has enough to
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do because I, in the background I tell you, is not a complex,
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but I live in a small town. But rather I have the undertaking
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that sometimes it is a big town that is fifty kilometers from Barcelona, but
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the capital Barcelona, and still in Barcelona, next to Buenos Aires, a
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capital, is a very small city, but for me Barcelona is already like
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the big city. So for me the rural, the dust you know when
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we were little with my brother, with good friends we were going to play
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around the neighborhood where I knew my mother saw and it wasn' t built.
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There were fields and there were half- rubinated cars. You threw out
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wheels, pieces of iron, that' s some kind of scar. Let
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' s say with some iron falling over there or this iron oxide thing,
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of dust and a little forgotten, a little bit in a place where it
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seems like nothing will ever happen, that time has stopped. Well, somehow.
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I do have a bit of a feeling he' s talking about bonus.
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I was small when I didn' t even think I could go to
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France to study, that I could do cinema by theater, but, well,
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the neighborhood looked like it was the universe. The borri was finished and
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there there is some music in that, of course, of course, well,
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you were just beginning to introduce into another of the important strong themes brought
29:38
by the wind that ravages, and that is that history is introduced into the
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world of evangelical religions, evangelical religion and the appearance of media pastors, messianic.
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I wanted more than media, what a correlation you find in the social
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and political context, because precisely not, besides that we talked a lot about
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this, because Alfredo is also a very political person and I too am horrified
30:18
by this phrase that is either mixed politics with culture or not mixed politics,
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because of course yes, that is, of course yes, I mean,
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culture is political. It' s all politics. What we read, what
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we say, the messages we carry, is that it is politics. And
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how a man with a certain belief and with one with a gift for the
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word uses this word to convince someone knowing that knowing that he does not furgoously
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agree with him, but that he is working for a certain legitimate interest for
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him, because the subject of faith is incontestable and for him he tends a
31:06
little fear of fanaticism and rats. Of course it' s incontestable, because
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when someone has faith you can' t refute anything. So this belief is
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a very powerful weapon. So how do you use this to manipulate, to
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dominate the most vulnerable classes or people, for one intro. I think this
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talks a lot. He talks a lot about today' s world, about
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the world in which we are about how vulnerable we are all to discourses,
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and there are ideas that can border on the right- hand sense, for
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example, with the idea of the human being. Very desolate, very desolate.
31:51
Yes, a savior who comes to solve the issues seem to have earthly
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issues and that besides that he has understanding that, that is, he will
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fish in a scrambled river, in a river where he is scrambled, because
32:12
of course everyone has his reasons you understand that my character wants to defend his
32:17
son and does not want to be robbed let' s say his son.
32:19
And such also realizes that your son, deep down, also has a legitimate
32:23
drive to see the world go from there, to get out of this garage
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of Dusty and imagine that another world is possible. Everyone has reason, of
32:35
course, the reverend has his reasons that tell us many words and Lenny,
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also Lenny Ves, who is in the shadow of a father with a very
32:46
overwhelming personality and who needs to grow and needs to exist for himself that everyone
32:55
has, has reason is everyone what happens is many times with the human being.
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Well, let' s not go on. Let' s not go
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through with this. Now after, it is true that they are more legitimate
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and others are consciously deliberately manipulative, absolutely yes, too much dogma and good
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little sensitivity, not at least it is what here, in Argentina now transcends
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as in the wind that ravages. You also participated in innocence, a German
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opera cousin Lucia and the journey of Marta de neuse Balus, where well you
33:53
were directed by women and summoned. They chose you to do the broken father.
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There is something about your experience, about your real fatherhood that you put
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into play when it comes to transiting these characters say, no, but at
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least not consciously. I mean, I think I have the impression that we,
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the actors, the actresses, when we act, just the fact of
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putting a thing so little if you want spiritual as putting the body, also
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has some spiritual, something that removes the soul that is inside and you end
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up portrayed, that is, even if you don' t want to end
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up resonating things that are inside you the will. The will is not that.
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The will is to try, above all, to follow the inspirations that
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Paula Hernández, the directors, gives us in this case, to follow her
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vision and we are at her service. But it' s true that we
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put a movement, things that went through us inside, that is, that
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there are many things that even without being conscious, I don' t know
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if the father that I am, I have two children, a daughter and
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a son, but the father that I had, the parents that I know,
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my friends that are parents. Of course, fatherhood influences me in a
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variety of ways, whether it' s to recognize it and you know and
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help me develop the gringo as opposed, to say the least, has nothing
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to do with it, precisely to the contrary, but there is something.
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I think that in parenthood, in motherhood, of course, but of course,
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by reality, by definition, it' s the origin, that'
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s where we all come from. That' s the midwifery, this thing
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that you end up educating more I believe with your actions than with your words,
36:05
that is, it' s not what you say, but what you
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do. And I think that is why the character of Leni, despite the
36:12
beautiful words of the Reverend, realizes the ability of manipulation that he has and
36:19
because in the case of Gringo, the opposite happens a little. Not that
36:24
speaking unclear, but there is something that goes beyond the words, that yes,
36:30
that has to do with an education of a father towards a son and
36:34
he, well you well said, is not almost the antithesis of that reverend,
36:40
because this man is rudimentary, osco for moments even hostile in his reactions.
36:52
But understand it seems that with greater sensitivity what is happening with that teenager
36:59
who, if curious in some way prior, is also curious how this character
37:06
is written, being how he seems less prepared or educated or less with less
37:13
tools for dialogue for this. But, however, being as it is rougher,
37:21
well, more dustier, also more fat- filled, but it ends
37:28
up, being also has something more affectionate. It is also curious being a
37:32
kind of animal, a kind of human wild boar, but it also has
37:37
something. He has something of a good person, curiously that I think transcends
37:44
beyond whether the reverend would let his daughter go the same way. In the
37:52
end, it' s something he' s got. He is a man
37:57
with few tools, with little culture, but he ends up having the intuition
38:02
that you can' t hold people for love, you can' t hold
38:07
people against their life- cursion and above all, let alone a teenager who
38:14
wants to fly and wants to grow up. How much intuitive and how rational
38:21
there is in choosing the characters from the roles they offer you. There'
38:27
s a lot, a lot of intuitive, almost everything isn' t,
38:31
because in the end everything isn' t, but it' s mostly intuitive,
38:37
because first of all, because this has happened to me since I started
38:40
making movies and still now I have a little bit of the complex of not
38:45
being very cinéfilo and then I can' t catch either. I mean,
38:45
I' m more of a cinephile than my friends, let' s say
38:50
from my people, by war mode, but because I work in movies.
38:52
I' ve met people on a shoot, the art ones, the electric
38:58
ones, that is, the walker, everyone' s very cinéfilo and then
39:01
it was going to bring strength to work with very cinéfilo people. Or I
39:07
' ve heard a lot about movies. So, then, I end up
39:09
being a little bit more than my surroundings, if you want, but the
39:15
fact that I wasn' t from when I started making movies, I couldn
39:21
' t hold on to it that this director or this style of cinema or
39:27
this one you go to a more cinematography. I' ll see then the
39:29
only thing I could hold on to. It' s how it happens,
39:31
I think, to all readers or all radio listeners, to all of us
39:36
who consume your culture in any of its forms. There' s something you
39:40
don' t know why. You get in, you don' t know
39:45
why, but you like it, I like the person, I like the
39:47
story. I mean, for example, it' s taken me a long
39:53
time to choose projects based only on my character, that is, if my
39:58
character is fine, but the story, it doesn' t close the exact
40:05
one or the message or what' s behind it. I think it'
40:07
s a little good that I can' t holitially hold. I don'
40:13
t care much, however, to make a character, because a little mediotre,
40:15
a little that has passed from it has been perceived. But a story
40:19
that aims to change the world that transports something powerful. I can' t
40:25
help it. I can' t help it, I mean, it'
40:28
s how I get the intuition that I have and that' s when I
40:32
tell you I read the breath that sweeps away and I' d do the
40:37
gringo like the reverend would. If you ask me, and well, like
40:38
Lenio would do, anything would be done that equals what touches me, you
40:44
know, it' s kind of secondary. But if this need to feel
40:50
that there is a character that exists within the greatest, the wind that rasa
40:58
transited by different effective is international, like Torontos San Sebastián. What new meanings
41:06
you found in the film throughout these screenings with oyster audiences, because what I
41:14
found is that to see us too when well, that happens to me a
41:19
lot when we watch the movies, I the first time, the second and
41:22
the third. The first time is impossible, you don' t see the
41:27
movie. You' re watching the shoot, you' re watching these scenes
41:31
right, here they cut this piece. Ah that which we roll like that
41:37
ah that looks like this. Well and I was very surprised, for example,
41:39
because the light, the light, the painting. That' s how
41:45
the movie is told with the colors. I had already seen some red there
41:51
in the middle of the field, projected on red trees, but I did
41:57
not know clearly. In addition, I, too, participated in the central
42:02
core of the medium, but of course, I had not seen the beginning
42:06
of the film or at the end, with which it was to me that
42:09
surprised me the most. It was yes, the cinematographic language, which is
42:14
risky. I find it goes far, because you sometimes know green reds.
42:19
There are colors that are very, very short and yet it is well diabolical.
42:29
He goes into the life of the characters in a very subtle and good
42:32
way and with a lot of beauty, with a lot of beauty. I
42:36
was surprised because they' re not either. It' s not a nice
42:39
postcard movie, but there' s a certain beauty. Pretty huge, pretty
42:47
disarming. Yeah, yeah, yeah, I' d say ugly partner,
42:51
so bad, not to what good movie has a huge appeal Well, Sergi
43:00
Lopez, thank you so much for joining us. Let us remember then that
43:05
the wind that ravages Paula Hernández, a great film, premieres on Thursday twenty
43:12
- four and co- stars Alfredo Castro, Almudena González and Joaquina. I
43:17
holly a big hug from Buenos Aires and thank you so much for your time.
43:22
Thanks a lot to you and until next time. And it' s
43:27
true that those films that are easy to advise, because you know that it
43:34
has many things, that it has many things to see, among other things,
43:37
besides Acedo Castro, I who are like those who already have a career.
43:40
Jorge is two bombs. Yeah, yeah, yeah, he' s
43:46
got flawless coffee in the movie. Well, thank you very much. I
43:51
' m sending you a big hug, an open hug. This weekend,
44:27
Los Tonos Mayores won the Biznaga de Plata to the best film in the cinema
44:32
section of the Malaga Festival. Los Tonos Mayores is the first feature film by
44:39
the producer, screenwriter and director Ingrid Pocropec. We' re with her.
44:47
Thanks for joining us. Congratulations on this newly arrived indrid recognition from Spain.
44:57
Yes, it was a tour of Berlin in Poland and, well, some
45:01
cities in Spain are fine. Well, let' s go back in time.
45:07
You' re at the award ceremony in Malaga and they say your name
45:15
what was the first thing you thought at the time. Okay. For me
45:21
it was very surprising that the film Canal such an award for above all being
45:25
a film, a first film. I' m not saying that. I
45:30
know I don' t know my horizon. My expectations with her weren'
45:37
t the same as a filmmaker. I think with another trajectory, then getting
45:42
a recognized one as big at such an important festival as Malaga was very exciting
45:45
and it made me very happy because I feel that that will help the film
45:52
have another flight. Not good, and now let' s pretend that you
45:59
have a chance to say your speech again what you' d say about the
46:07
major tones and the competition and the competition in what sense and the competition,
46:12
well, how did everything that happened with the major tones go. Okay.
46:19
I like the exercise, because right in the award we were put on a
46:22
little hourglass with a lot of humor, just like talking very fast, yes
46:27
clear and saying everything that more or less came out at that moment. But
46:35
nothing. I believe that the jury really found something particular in this film that
46:42
we made in such an independent way, first in Argentina, then with support
46:47
also from Spain. It' s something that I' m always going to
46:54
be very grateful and good. Obviously, he also added that one week Sandes
46:59
premiered the Berlin Festival, which also gave him the film at an international opening
47:04
that so far he did not have. So good. If I had had
47:08
a little more time, perhaps I would have mentioned more people on the team
47:15
and I would have stressed this a little bit about how important it is to
47:22
value Argentine cinema, which is so rich, so varied. Well, it
47:24
was so powerful. We won' t know what' s going to happen
47:30
now. Well, the big tones is an urban movie. They are located
47:36
from Buenos Aires with autobiographical references, although they are not entirely explicit. What
47:44
do you think they valued, valued in Malaga and the public, especially good.
47:55
I always wanted the film to be an urban film and to be filmed
48:00
in Buenos Aires, because, although I am from the outskirts of Buenos Aires
48:02
del con Urbano, it is the city that I know the most and wanted
48:07
the adventure, that the tour was in the capital say. But speaking to
48:15
one of the Spanish producers, with Adna Liaga, he told me that when
48:16
he saw the film, he was very surprised how he felt that he could
48:23
identify himself as well and that it was something that, for example, in
48:27
Spain, was an adventure that he felt could happen in a Spanish film.
48:32
The fact that any person or any part of the world could establish an emotional
48:37
link with the film and be reflected in some way in that character, in
48:43
that loneliness, in that wandering, and well, I wasn' t lucky
48:47
enough to talk to the three jurors, but, obviously, some kind of
48:52
emotional bond established a film and I' m already very happy, well.
48:57
Also, let' s also say that the protagonist, Sofia Clausen, was
49:05
also distinguished as best actress at the Malaga Festival And yes, well, she
49:09
motorizes this story about a teenager. Perhaps the universality your Spanish producer saw has
49:16
to do with that. Yes, yes, the truth is that I am
49:22
very, very, very happy that Sofia a Clausen received that award, because
49:24
I feel that the responsibility to take the lead in a film is very great
49:30
and she started her face when she was twelve years old, that is,
49:36
very small. Now he' s fourteen and he did it with a maturity,
49:40
with a professionalism, without ever filming any film. No, but I
49:43
' m saying something amazing, so much natural and nothing sophis. He deserves
49:49
all the prizes in the world, so I am very happy with the naturalness
49:52
with which that character assumes. Yes, it' s very impressive. Well,
49:58
the bigger tones are not only positioning you as a filmmaker and screenwriter,
50:02
but also integrating the producer. Thirty- six horses. What a picture you
50:09
will now see as a producer in the face of the total funding of the
50:15
Inca. Well, first to make a little file to my producer and then
50:19
I talk about horse troubles Also I' m gonna put the watch on you
50:24
in a little bit. Also yes, yes, but I take advantage since
50:28
we are to speak well of my associates, not of me, because I
50:30
had nothing to do with it, but my associates Juan Ido, Alamos and
50:35
Ibamos Covic also produced a strange movement of Francisco Lezama, who won the or
50:38
Gold Merlin. Yeah, so, well, the truth is that that'
50:42
s very impressive and nothing from our side as a whole, obviously, with
50:52
the entire national film industry, we' re very concerned. Good morning and
50:53
my mobilization because, as we all know, it' s good. On
50:59
Monday, a resolution came out that makes it appear to be quite in danger,
51:07
that the institutions are in danger. Well, festivals, film schools and
51:10
national premieres. And I say that, above all, seems to me to
51:17
be a matter of ignorance on the part of this Government, because it seems
51:22
to me that it is as if the current Government ignores the value of a
51:30
country' s art culture and only thinks of market value. And I think
51:32
it' s the resolution that came out on Monday really isn' t going
51:37
to generate any kind of economic benefit for the country, but just an act
51:42
of as a symbolic threat that, on the contrary, is going to be
51:45
that many people lose jobs that don' t enter currency into the country,
51:52
as was the case with national festivals, which are very important. So,
51:54
for me it' s really an act of absolute ignorance ingrid Yes, I
52:05
totally agree. I really appreciate this presence here on GPS audio- visual radio.
52:12
Congratulations on these recognitions, the major tones, very much deserved and well,
52:20
we will see how all this continues with you then we close this broadcast
52:28
of audiovisual GPS radio. We said good- bye until next Wednesday. We
52:32
thank you for coming with us and, as we always say today, more
52:42
than ever see Argentine cinema until next week. Thanks for joining us. This
52:59
was audio- visual radio. We' ll be waiting for you next Wednesday
53:12
at 19 o' clock by radio thirty- three.