Latest / GPS Audiovisual / GPS Audiovisual T05 P09 - LUCIA PUENZO, FRANCISCO LEZAMA, ALFRED OLIVERI, JESUS MAGAÑA VAZQUEZ

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GPS Audiovisual T05 P09 - LUCIA PUENZO, FRANCISCO LEZAMA, ALFRED OLIVERI, JESUS MAGAÑA VAZQUEZ · 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 country' s film industry. Argentine cinema will never be
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the one it is until now. We, from audiovisual GPS, continue to
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bet and believe in the culture as support and sarns of a country, the
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culture, a culture that is accessible, open, free, that makes us
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think and that has the support of the State to continue developing welcome audiovisual GPS
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radio with the journalistic production of Norberto chap and the leadership of those who speak
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to them, Julia Montesoro, Lucía Poenzo opens tomorrow the impacted his new film,
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starring Mariana de Girolamo Germán, Palacios, Guillermo fenin osmar Núñez and Moro
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Angilleri, among others. Take this story that we highly recommend go and see.
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He takes the viewer on land as such, as a spectator through places
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that make him, live, relive, feel, share the experience of this
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protagonist, the physical and emotional disorders that live, fundamentally emotional. This is
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one of the many things that the impacted achieve. Lucía Puenso Lucía' s
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film is with us here at the radio studio train topic, starting today'
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s broadcast of GPS audiovisual Radio. She looked very welcome and thank you so
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much for joining me. Thank you, Julia, how are you doing?
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One of the effects of the impacted is that it is a narrative sufficiently diversified
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to open up to multiple readings. You' re the one you' re
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staying with. I keep the visual and sound score, which is the impacted
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ones. What happens to me when I enter a film, but also a
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novel, a book that I write, is that I have an intuition of
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where the visual score, the sound score, more than the peripetics and the
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theme and for me the impacted ones. It was the curiosity to immerse myself
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and then immerse the viewer in this madness of hyperacute, photophobia, visual auras
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that suffer those who survive an impact and that' s where we enter him.
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I' ll take that. That was the starting point then for working
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with your co- writer. Yes, when Lorena, between a thousand and
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this plastic artist approached me that first embryo of script, she also gave me
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pictures of details of those macros, of these marks of lishtamber that are these
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scars that go through the body of the impacted one, sweeping through the tip,
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making air and earth. He' s not trying to get out somewhere.
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And what immanced me most from a beginning is to understand that this drawing
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imitated the ray that had struck them, the drawing that remains in the body,
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the impact is exactly the type of stripe and thousands of types of rays
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and it stays like an x- ray of that ray that chose you,
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that has this conjunction, that idea of something very medical, very scientific,
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with a poetic and symbolic idea very forceful. Not that it' s why
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he chooses you and doesn' t choose me and why he marks your body.
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So and how literally groove marks of neuroa surcossynaptic that make you no longer
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the same, nor even if you want it can be the same if they
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are like tattoos, not so for life, this shocker thing that I,
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frankly, until you told me these questions, I had no idea that it
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was happening. I think we all have the idea like he grabs you a
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rashi and sets you on fire. I don' t know you' re
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dying and it turns out there' s other issues going around. Not sure,
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those who are not cremated and do not die enter into this madness that
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has this strength of being something almost of the order of science, fiction,
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but completely real, which is what happens to those who survive. Well,
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I was just going to tell you between those multiple readings, layers offered by
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the impacted. Somehow you can talk about certain, air of science, fiction
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or fantastic genre, but it seems to me to be a drama of love.
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Fundamentally not because the way that lightning passes through this woman, the protagonist,
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which, on the other hand, is a formidable job. There'
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s a whole love story there Yeah. We were clear with Lorena. The
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first thing that happened to us when we started reading stories of survivors is to
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see that in many of them there were behaviors of their organs that had gone
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crazy, they were completely others. And we ran into this story of this
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woman who had had early menopause and who, after the impact, her ovaries
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began to be fertile. That I had just been a mother a few years
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ago. Evidently, he hit somewhere in me too and we knew it was
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the story of this ada character who is playing Mariana and Girólamo who we were
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going to tell that it was not the story of an entire group impacted,
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but his story. And very quickly we find this neurologist doctor who acts in
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the film, in fact, who is the head of neurology of the faithful
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of Lenny Hospital, who does electroconvulsive therapy in Flenny Hospital, and that she
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was the one who told us this phrase, which says Germán palaces. In
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the film there are people who do not respond to the chemical, but it
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responds to the electrical and began to talk to us about the nobility of electroconvulsive
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therapies, which are nothing other than the old electroshock that in the sixties and
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seventies was wreaking havoc, obviously, but that today also has very noble results
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for those who no longer respond to anything else. And that was a little
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the gateway to understanding that there are alternative paths, the idea of healing in
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other ways and the characters of the margins that choose from the margins reinvent themselves.
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Well, just this woman, the protagonist, in short, is looking
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to meet. Yeah, she hides a wound from a little girl about how
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her mom left and what she probably has to do with what she decided to
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do with her body and she' s kind of like in a limbo.
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The character when we find him seems not to be very vital, it seems
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to be in a place that that lightning pulls out, she opens her eyes
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like a sleeping felia and is and doesn' t know what it is.
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And we started to understand the movie tells the puzzle of who she was and
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who she' s going to do. And there, little by little we
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begin to understand where his wound comes from and how it can be cured.
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And there' s the cross of that love story that you don' t
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say, because there' s something about a character who' s going to
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choose, live, and another character who' s on the way out and
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they come across each other. Just a little while. The love story is
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a little while until one decides on one side and the other. But that
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story is very powerful. I' m not nearly as shocking as this ray
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that originates the whole story. That' s the story or neo. They
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like it a lot. I like gender hybrids. I like to write hybrids.
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I really like the genre. I say suspense, terror, genders in
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general, give them in college and teach them and also write them down.
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But they are at an easier point because one stands by the rules of gender
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and every spectator has them incorporated by the rules of gender, because we grew
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in gender. Hybrids are harder because you' re walking like you' re
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on mines. If you put a lot of something, a little something doesn
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' t work and I like to see and I like to see hybrids.
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I really like movies that I call hybrid a movie that you go into growing
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up, which is one thing and the movie suddenly you realize you' re
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watching another movie. The impacted pass a bit. That could be considered just
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a thriller, it could even have been a superhero, because there' s
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something about the impacted that might even have been a Marvel movie that they do
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and yet it' s looking at the real movie, which is that it
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' s something else, it' s not accurate. That' s now
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a look at the female universe as well. Yeah, it' s a
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feminist movie. She talks a lot about women' s elections, perhaps an
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atypical place, because maybe she' s not so exposed, because she'
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s talking about women' s elections. But I do believe that the choice
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we make with our bodies, even crazy decisions, which sometimes has our body
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as an early menopause that perhaps is also linked to causes not purely organic,
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but psychological. Or the decision to maternally or maternally to go or not to
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go? Breastfeeding or not breastfeeding? All those decisions. Fortunately, today they
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are decisions, they are not mandates, or they can be, at least
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in many tribes they can already start making decisions of our bodies. And the
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film, above all, is which woman chooses to be its protagonist and how,
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from where she chooses. Monogamy or non monogamy, whether sex or not.
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Let' s say all that she chooses in the movie has to do
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with being free. There is a good work, light and sound, very
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important. Music is also very important in the impacted, but there is in
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turn a treatment of eroticism in two scenes that are really very very strong,
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very well played. Not how they worked it, especially in these times when
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there are even prejudices. I' d tell you how to deal with these
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relationships. Yes, we were clear that we didn' t want to pasteurize
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the sex scenes, that they were simply as well lit and sweetened, but
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that there was something in these knot bodies. The nakedness is very prominent,
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the organic and the nakedness not only of the humans, but also of the
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animals, of the impacted not that they play as a very leading role the
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bodies of animals and humans And from that place we wanted to show them boldly
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that for me too there is a beauty in the flesh and in eroticism,
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that it is not pasteurized, that the bodies look like the bodies would be
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seen in a scene of real life and in that sense, their sex is
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not entirely harmonious beyond desire. It' s a little clumsy, it'
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s a little rough. A little bit. Yeah, he' s in
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the area of what doesn' t end up completely fluid and that' s
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what we wanted to film. And for that, obviously, we needed actors
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who would encourage him to go to that degree as a throwaway with his nudity
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and not to have prejudices when it comes to their bodies looking like that.
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And I knew that good. I know Mariana first has a pretty good relationship
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with her nudity, but I' m not just saying take off her clothes
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as with really going to places of great courage as an actress to play strings
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that are incomposed or scary to her. And German has that, too,
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and we, moreover, have known each other for many years. Then there
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is an intimacy not only of the actors, but of the technical team the
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actors, not that it is enormous when it comes to filming scenes. Of
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course, he' s got a lot of weight, a lot of weight.
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Sure, they' re decision- makers. No, and now the
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protagonist, why. Mariana. Mariana is the most extraordinary actress I' ve
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ever met in recent years. I met her doing the Jauría uni and two
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in the Jauría in the season. One was already a more secondary character.
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I remember Pablo Larraín. At some point that we were there chatting in the
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pre- Jauria, he never told me long ago that I didn' t
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take with an actress like that in Emma, Emma, the classroom, Paula
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the renema. She' s the protagonist and she' s real. I
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spent months editing because I edit all the chapters of my series and it'
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s one shot better than the other. It is impressive the spectrum that already
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has and this mixture so strange that to me sometimes it makes me remember and
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on that front that had it on display. Yes, of being very sexual,
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very sexy, very disturbing and very angelic women like mixtures, very strange,
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that it is difficult to invent to create it. That is something that
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the person brings with him, it is like a quality, he enters a
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room and it is so, it is difficult to read and, at the
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same time, very close. That' s not what we needed for Fairy
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' s character, because she' s a little indecipherable. Well, that
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' s what you see and transmit all the time. They are Hadad'
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s moods, yes, and that' s how you worked with her,
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fundamentally good that transmits them with an incredible accuracy, with looks, with the
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body. She' s an actress who has the quality that I really like.
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They are actresses and actors who can tell you everything with a look and
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almost without making any other gestures with their face and, at the same time,
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in a general plane, at a distance you also understand how you are,
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because there is something in their body that can also tell you, even
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if you see it there in the distance as it handles the plane detail and
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in general, with the same ferocity and understands the cin understands from which place.
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If it is a general clearing, it has to move in one way
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and if it is a detailed program, it has to work on a microscopically
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not that huge graduation that already has in its record and that other eels have
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it and it also has pipioneto, also has others from the impacted group.
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For me very valuable, because it allows the cinema that silence, that the
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cinema does not have to be verborragic and explanatory. I like in general everything
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that for me is rewrite, of the written word, of literature or of
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cinema. When we edit is to remove and remove and remove as it says
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ay, let' s just say put and put not in general, from
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the first having armed and from the first version of a novel to the last,
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is the only thing that is to take out, take words, take
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pictures, take out and purge, until, if you can count without words
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a scene, we count it like this and there is cast that is easier
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for you. You have that too, I say a special smell to detect
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that kind of performance. What these actors can give you, yes. You
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gotta know who can give that, yeah, well, you got it.
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Now you' re releasing the hit ones, yes, but you have multiple
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issues ahead of you. I say another movie, a series next year,
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a project in the United States. What' s all this, how you
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manage it looked, because that' s to carry all this forward. Now
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we' re in the middle of a shoot in Mexico. I came here
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for a couple of weeks to bring my daughter to school. Starts second grade
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to release the hit ones and I' ll be back in a week to
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Oaxaca. We are filming in Chiapas and Oaxaca at the end of a future
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series. Desert that is for Montigomont, which is like a movie for me,
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is a very personal project that we wrote with Leonelda Gostino, César Sodero
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and Nicopudens A, my brother, who is there directing, stayed alone in
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filming and that we are editing entirely, with my editors, of all life
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and that we premiere next year. So that' s a project like it
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' s six long in a short series that I really like, the six
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- episode series. And yes, and then I have another Netflix series in
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the middle of the year in Mexico and I' m going to film the
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holster a part of Pepita' s life with Luisa Anallo Pilate in January,
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not in January, when the summer ends in Mar de Plata, when the
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people of Mar de Plata leave in a few months, because it is the
16:18
Mar del Plata the year for which the 80s did ajá and I hit all
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that other film in the United States. There, there' s all the
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shootings, one behind the other you have all timed, a bunch armed,
16:30
a structure yes, yes, yes, it' s impressive. Well and
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at this moment, the other day you said in the van premier of the
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film, which is, it is almost a miracle to premiere at this moment
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not in theaters, yes, how you are going through this moment of Argentine
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culture, of Argentine cinema, with a lot of concern. I think it
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' s historical, it' s unpublished what' s going on. We
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have had many difficult times to lend, first with this degree of demonization of
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art and culture, with this degree of disinformation from parts of the government of
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how it is financed and for what we do cinema. But it' s
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not just cinema, because the attack is on publishing houses, on the entire
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cultural industry, against theatre, against health and public education. I say this,
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the truth is that it is not only against cinema and the method of
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misinforming, demonizing, choosing symbolic enemies and so on. Nor is it only
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with cinema, with art and culture. So I think we didn' t
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even get called on to have a dialogue beyond what we can think differently.
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On the contrary, just to say our ideas attack us in a way that,
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as we have seen, then the concern is unprecedented. And now what
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just happened with the Inca that we have an interventionist who doesn' t even
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know it' s the cinema, that' s all, would indicate that
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he' s coming to liquidate the Institute. Yes, well, in this
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context, Lucía Poenzo proposes us to go to the cinema and meet the impacted.
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I strongly recommend that you see. This film is really very shocking if
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there is the play of words from tomorrow then in many halls of the country
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and good Lucia, I think thank you very much. We will be attentive
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to everything that happens with the impacted and your future projects. Thank you so
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much for having accompanied us, thanks to you. We' re still on
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GPS audio- visual radio. Unhappy man, not happy. I also had
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a decision. They' ll take care of it. It would appear or
19:00
how it would describe your relationship as a clear or normal couple. Put down
19:15
the author how much I agree with that or not. That was part of
19:29
the city. I was a way to breathe and you met me at the
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very rare moment in life. You know what it is. It' s
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okay to work in the city the Letter of another occasion of passage two pass
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you have no idea who I am or not. Don' t like breakfast
20:07
The duel, a woven Augusto movie with Joaquin Furriel, Eugenia, China,
20:15
Suarez and great cast. It is a Burke production and is available in star
20:19
Plas. That' s me when I was ten and that' s my
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neighborhood where the story I want to tell you is born. I' ve
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changed him since you went cold da and you' re fart. He'
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s my bitch, that' ll let him change goal Juan and the less
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we cross better for him and for everyone. They watch the whole movement.
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I went out how many are the family, the whole move and the bocon
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stick in a row turns or s b Records. The last day of your
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childhood, we invite you to travel in time, because we take you right
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there accompanying nico on the way to his maturity in a neighborhood thriller between medium,
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a film by Martin Gamaler, simultaneous premiere in the cinema comn and in
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cinema rocha a la plata starting from the fifteen of February, every day,
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twenty and thirty hours we find ourselves also in instagram arroba between half point the
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film. We would have liked to know what was the last day of our
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childhood, Argentine Francisco Lesama and his history at the Berlin International Film Festival.
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The comedy a strange movement won the gold bear to the best film of the
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short film competition of this festival, which culminated last Sunday. We' re
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in communication with Francisco Lesama, Hi Francisco. Congratulations. Where you are now
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and well, how they followed these days after the gold bear. How are
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you doing? Thank you for having me with you. I' m in
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Berlin more now because I have family that shouldn' t be. About ten
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years ago on the outskirts of Berlin and I stayed with them for a few
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days to get down a bit. The foam of the festival becomes a little
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intense. He' s used us to so much. Of course and besides,
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with that award I don' t say the other one of or should
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be yes, very strong. Yeah, I really do. Yeah, yeah
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emotionally one who' s been doing things since I was so young, in
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my case, I' ve been a cinephile since I was very young,
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thanks to my grandfather who took me to the movies, and then it'
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s good nothing. You cross a little wires like the joy for the professional,
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with the biographical, emotional and not in that I' m a little
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low now making so much of me to become a jerk. Yeah, yeah,
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never, I think it' s clear, in a good jerk who
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tells a strange move. A strange movement is a short film that lasts 23
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minutes and what I had proposed to myself at the time in an intuitive way
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was to try to narrate a little bit the economic crisis Argentina through two different
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characters. One is a low- middle- class security guard who manages to
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see with a pendulum that the future an abrupt climb to the dollar bar that
24:37
foresees with an improvised pendulum, one ran would change, gets fired from his
24:41
work as a guard and buys dollars and from there there there is something in
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the character, as if changing status by buying dollars that comes in. Let
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' s say the character goes into bonding with a little tree that can'
25:00
t buy dollars, but tries to bond in a traditional romantic way. But
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there' s like an impossibility in that loving bond between who can buy dollars
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and who can' t. It' s kind of a deconstructed romantic comedy
25:15
about Argentines. We are divided into two, yes, those who can buy
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dollars because they have a balance and those who are doomed to have their salaries
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liquefy for inflation. It' s a very strange short and it' s
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very good. In twenty- two minutes, what I do feel is that
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something like a forceful thing is being put together that I thought wasn' t
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going to be understood in Berlin. I never thought you' d be able
25:41
to see it outside of Argentina. While I made every effort to narrate the
25:48
truths of the crisis, the explanation goes up. I was quite surprised that
25:56
he was selected, but well, I believe the context, not the context
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with the theme of the promises of dollarization, made this short that starts in
26:07
the two thousand nineteen and brakes him in the pandemic with a dollar to sixty
26:10
pesos, nothing will resonate in the context of today and in Berlin. What
26:18
happens is that the shorts, which are twenty that choose from the world,
26:22
are like narrative artifacts that have a very own form, each very interesting,
26:27
but at the same time, all dialogue with what is happening in reality.
26:30
It' s not like the curatorial line to Berlin. Or what I intuit,
26:34
what you see. Little can I say, because, of course,
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now I feel that it is all politicians who are short. Yes, of
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course, why you were looking to address the subject of the obsession with the
26:48
dollar, because you were interested in the script or developing it. Yes,
26:51
yes, since the two thousand and fourteen that I have been developing, I
26:55
directed two shorts before they were about this issue, I took them down and
27:00
this time I wanted to make a short only much more focused on the economic
27:04
crisis and it seemed to me that, for example, there are many many
27:10
essay films, many films about language without going any further. Mainstream works language,
27:15
for example Matrix, but never work with the economy. And it seems
27:22
to me that that is something that has to do with what we are like
27:25
that the film industry is Eurocentric or in the United States, where they don
27:30
' t have inflation, and we, having inflation and these problems with the
27:33
dollar, for me we are much further back. Human ties are much more
27:37
traversed by the economy. And there you realize that the economy is a form
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of language that is all the time going through us and a little bit of
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the short is an attempt of non- theoretical, because it is a sad
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entangled comedy, but it is an attempt to generate a feeling that has to
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do with this that the economy transforms our bonds yes and that does not differentiate
28:04
us, and that we can fantasize something romantic about someone. But if it
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' s another class, another class or a class like you didn' t
28:15
buy dollars, they get complicated and I didn' t buy dollars and you
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buy dollars, you put on. Don' t exist, because I pay
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dollar and what do I do. It' s not a bit. That
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question in the form of a small one is called strange motion. Because of
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this or all these weird movements that Argentines are going through. We' re
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going through, I say what a premonitory. In a sense your short,
28:40
but not so, because in the eighties it was grey and in two thousand
28:42
one there was no crisis. Yeah, there' s a crisis all the
28:47
time. Either crisis or good is this chaos and we are as more.
28:55
We are all a little class, middle, upper middle, if we are
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all know economy, that is, we can all talk economy, which in
29:04
the world happens to us. We' re trained. But yes, but
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we didn' t approach that as if it was like a language and it
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seemed good to do a hello. Yeah, we' re talking to Francisco.
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Lesama was the winner of the Berlin Film Festival with his short film a
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strange movement. You' re there, yes, Francisco, there we are
29:36
We' re taking back communication. Which was the first thing you thought about
29:40
when they mentioned you. They said he is the winner of the Berlin Festival
29:47
' s top short film award. Well, I was accompanied by the two
29:52
actors Paco Gorriz and La and La Mals and I admire them both as actors.
29:59
They are the actors but very talented, with a lot of trade,
30:03
already a lot in training and a lot of work done, a lot of
30:06
film made. And the fact of being accompanied with them gave me a assurance
30:08
that I don' t know where I got that I felt I was going
30:12
to win, but because I felt that they deserved to win as actors,
30:18
as if there was something like a surprise then. And no surprise sounds a
30:22
little arrovante, but what I confess is a feeling like the expression of desire
30:29
perhaps unconscious inside. So, when we win nothing, a huge poor satisfaction,
30:37
he' s clear good. A few months ago, the change of
30:41
Lautaro García Candela was released, also with production of thirty- six horses.
30:47
You didn' t see the movie. Yeah, no, I didn'
30:49
t see her. Yeah, yeah, about that. No, no,
30:53
no. I haven' t seen her, I haven' t seen her.
30:56
I didn' t sign it long before, in the two thousand nineteen
31:00
short. So that' s another thing, yes, it' s another
31:04
no, I' m saying it' s a plagiarism, let alone a
31:07
plagiarism. It is another way of addressing the issue. Now there is some
31:14
project that involves the passage of the short film along. Now, in my
31:21
case, I am now developing a length that I will film in the high
31:25
mountains of Gracia in Cordoba. Yeah, but I don' t have the
31:30
cabal to say a lot about the projects I' m going to do,
31:34
but I' m trying to start a long one and I' ve already
31:38
written it a while ago. And good this gold loo stuff. I think
31:42
I hope it makes it a little easier. The production is so complicated.
31:47
Yeah, yeah, yeah, well, let' s try that. So,
31:52
Francis, thank you so much for this contact and good congratulations again for
32:00
this award, with your work, with your short film in Berlin I send
32:05
you a hug, thank you, a big hug. Thank you for the
32:08
interest, thank you. We' re still on GPS audio- visual radio.
32:45
Alfred Oliveri will premiere the Wine Route worldwide his new feature film of gastronomic
32:53
theme. This is going to be in the official cinema cooking competition of the
33:00
Malaga Festival that begins this Friday first of March. We are with Alfred Oliveri,
33:07
who is currently in Holland. Well, it' s a huge pleasure
33:12
to always be in touch with you again, so good to meet you again.
33:15
I say with you, it' s a pleasure, it' s
33:21
a joy and always in a state of gratitude, because you' re where
33:23
you have to be. I' ve been a lot of people late where
33:27
we are, and that' s great. And you are always covering the
33:30
activity of all colleagues and I love to follow the information through you about all
33:36
the great things that Argentine cinema has. And yes, the truth is,
33:42
it' s very motivating for me. Well, first of all, what
33:45
is the Wine Route? Well, the wine route was a gio. Let
33:52
us say this clearly. Who released the film in linear almost as well as
34:00
in a surprise for ourselves do not know directly or how to classify if it
34:07
is a kind of preview, official premiere, commercial wait. I think it
34:14
' s still happening, it' s been happening a lot last month.
34:16
I mean, we found messages everywhere from people who were seeing the Wine Route
34:22
linearly. We' re going to have the name for people to understand,
34:27
because we' re getting into a big mess. The original name is Into
34:30
the Wind, which is like diving into wine. This is a road movie
34:37
we made a while ago, starring Mariana Torta. It' s a very
34:44
literal rice of twenty- two days. Let' s say crossing the most
34:50
important territories, some of the most important. He came in Europe and crossed
34:53
its cities, that is, starting with Paris, finishing in Madrid, passing
34:59
through Burgón, passing through Cote d' Azur, passing through Mauro Colagreco.
35:04
There' s a wine tasting for Argentines. He goes through Piedmont in Spain,
35:08
in the Priory, in Sierra de Gredos, with a very personal connection
35:14
of Mariana, with those places, with those people and with mainly the wine.
35:20
And what I find very interesting, which are reflections that sometimes come to
35:23
me later. Let' s say making the movie, making the movie.
35:29
Then he kept thinking about what he did, what happened, what it means,
35:35
what he brings. She has a deeply feminine look. I am very
35:39
happy because we are going to Malaga with almost the entire team that made the
35:46
film and they are three better and I, that is, lack that they
35:51
were my partner at that time, that was areogenua, that is no longer
35:53
a partner, but he is a friend and it would be very good that
35:57
he is and we were all those who were in the band during those twenty
36:02
- two days and what is distilled is first an energy. Definitely, when
36:06
you talk about, let' s say equity of that of the other.
36:08
The truth is that I am with the team that there are three women remaining
36:14
the team remains the female team and the female protagonist. I want to say
36:22
this and I' m going to come to this conclusion. I couldn'
36:23
t have made this movie with a man, I mean, not that I
36:27
could have made it. I wouldn' t have wanted to make it with
36:30
a man and why chosen, because there' s a connection with wine on
36:37
the part of a woman who' s not going to have a man.
36:39
So, if I made this movie, the movie would have been completely different
36:44
and we' d have to see if that would be interesting or not.
36:49
But definitely, this film is impossible to conceive with a male protagonist and whether
36:55
or not they want to know why. But I' m telling you,
36:58
it' s like that. Uh- huh And people. When I see
37:00
him, he' ll understand. You will understand that there is a female
37:05
connection in relation to the world of wine. I see her and she'
37:09
s fine. You can' t put up a request doing what she does.
37:14
Of course, you can do something else, but this certainly isn'
37:17
t and it' s something else. Female thematic films are not just female
37:22
themes. It is the contribution of the female gaze or the female protagonism within
37:28
a specific theme. This of this clear film good, at a time when,
37:34
moreover, it is very much in the forefront within the audiovisual industry,
37:40
the topic of the role of women, not only the places that occupy or
37:47
do not occupy within the industry in the technical phases, but also good as
37:53
heroines, if it fits the word or better let us get it out as
38:00
protagonist of a story. Not in that sense, it seems to me that
38:04
your documentary also acquires a priori a very, very interesting value. That'
38:12
s honest aside, let' s say because the reality is that all this
38:15
that you say is true and often arises in terms that is not so good.
38:22
Even how good they are in terms that is not so good. And
38:24
you know it. Let' s say there' s like an internal look
38:30
within the industry, where let' s say there are moments with their themes,
38:37
moments with their genres, moments with their suggestions. The suggestion of gender,
38:40
the woman' s reference, may also be the suggestion of tru crime
38:45
eyes, but it' s always like a suggestion that it' s a
38:49
good time to do a certain thing. He' s never thought of that.
38:52
That' s right, this closed two. It' s a crazy
38:55
movie, and I don' t think it' s the only project we
39:00
' ll ever say in a way. It went awry because it was shot
39:02
from us we rolled it directly after presenting it in July in San Sebastian,
39:07
in two thousand nineteen aha we hooked. From there we went out and met
39:14
in Paris all and started shooting, which was in September of the two thousand
39:19
nineteen and when I came back I had a lot of problems of all kinds
39:28
as there can be in a movie, with funding, with partners, with
39:34
links, with misunderstandings, with silver problems, with good. The thing is,
39:39
I had a hole and a bad taste left and to get rid of
39:45
that bad taste I ended up good. It' s not like I did
39:47
it or it just went away. Naturally, I went to visit my friend
39:51
because it was going to be shared in my great friend Juan, peralta bouquets
39:53
in January and there we ended up signing priority that later ended up winning in
39:58
Malaga. That wasn' t like the antidote to the taste he had left
40:01
me. This filming was much more ambitious than it ended up being. I
40:07
think it ended a great movie and the movie it had to be. I
40:10
didn' t say this before. I say it now I go with the
40:14
whole team to Malaga to this festival you saw, I go with Chuffy and
40:22
I go with Mariana and we all go up to present the film and all
40:25
Stodex. I' d have to say it clearly and because it' s
40:32
very beautiful too and I really like it being one of them. In that
40:36
sense, you let things happen differently. Despite the obstacles I understand, yes,
40:45
it was a way of rereading the different reality that lived the years and
40:49
allowed me to commission it in form and, in fact, the post-
40:52
production was done in a different way. The process was much broader. I
40:55
entered somehow from a later moment where we say it was already distilled between them.
41:01
Let' s just say it was going to be a movie that had
41:05
more to do with what it had to do with and not with things around
41:08
it, but with me. I think it' s a very cool movie,
41:10
so the connoisseur, who cares about wine, the wine lover, is
41:14
going to freak him out because he gets to places where hardly anyone gets there.
41:19
They are like very special women and very very really is like the Vatican
41:25
of wine and that knows nothing about the world of wine, which for me
41:30
are also important things in general, in my films it will have a great
41:35
time and it will have a lot of fun and it will be very interesting
41:39
how to enter all that and accompany Mariana throughout that journey. Now there is
41:45
a style or a way to narrate your films. Where you can see the
41:51
olivery seal. Let us always say my main goal, when I started,
41:57
was to achieve excitement in the viewer from things that were not so predictably exciting.
42:02
I wasn' t making a love story you understand how to get people
42:06
excited, because the couple was making themselves. People stepping on grapes or people
42:10
making them bring sight tomatoes and yet I think it was achieved. I think
42:16
there' s a search for this after photographic, that is, every movie
42:22
has piurity. It' s a movie, as I' d almost tell
42:25
you, an indie movie that fictionates you and it' s a documentary and
42:30
it' s an indie movie following the moon photographically. It seems to me
42:32
that it has great achievements and, above all, a great concept. I
42:36
mean, you bet on that or not, but you bet on that and
42:38
you bet on the time you tell that movie. Then you have exclusive gastronomic
42:46
cinema. We could say no as gender. This is a condition, a
42:53
need for expression that you posed at a certain point when you started as cinemas
43:00
or were finding the beta on the way. No, actually, neither was
43:04
a coincidence. The thing is, let' s just say I didn'
43:07
t find him on the road once I walked in between them. What happens
43:10
is that you need to settle down and that people understand that you are doing
43:17
that, even if you want to do something else, because everything takes a
43:22
while and the understanding of people and the understanding of industry takes longer than your
43:25
own understanding. I ended up doing cinema by chance, because I was linked
43:34
to the world of gastronomy, because it seemed to me an interesting area to
43:38
tell stories. No more than that, but this was an area that seemed
43:42
to me to combine territory, politics, identity, territorial, social identity,
43:46
the break between traditional schools, with the things that were happening in the world
43:53
at the gastronomic level and especially in Latin America. And I felt apart from
44:00
that. We were already in Cana, we were in San Sebastián, we
44:04
have two silver ones, we have something, but I live with this new
44:07
movie, it seems to me that we can go a little further and definitely,
44:14
the world of fiction is what is coming and that is where I am
44:16
entering this year. Where I am entering this year by projects linked in one
44:21
way to another of gastronomy. Because they associate me with that and it'
44:23
s okay. I want to be able to expand my creative palette from entering
44:30
the world of fiction. I don' t want to make documentary food films
44:34
all my life. Yes in itself, there is no such thing. It
44:38
' s a step I' m taking to go somewhere else. Perfect Alfred
44:44
Oliver, well, director of the Wine Route, which will have its world
44:47
premiere, we can say on Sunday March 3rd at the cinema cooking competition of
44:53
the Malaga Festival. Thank you so much for joining us for being here on
45:00
Gp SE, audiovisual, radio and well, particularly with this film we will
45:06
toast for your success. This is the story of my hatred. I'
45:17
m his impression permit. The position of Manager was recently set free and I
45:22
requested a new human resources request. Looks like it' s going to be
45:29
mine for everyone. Option there because he' s a son of I don
45:34
' t know who, because it' s pretty obvious they' re gonna
45:37
put him a lot of fairness. Neither you nor I had a chance.
45:39
We weren' t in the eternal for the job. It' s no
45:45
longer important for your husband to be a brother who' s the most popular
45:47
in the world. This is a short company and something me or you have
45:55
to be wrong. Hang in there, we' ve got to shoot.
46:05
One looked like tristintos children, others had as grounds you and we are already
46:08
goal not a rush to revolution. He' s especially like us. Don
46:16
' t do anything, I don' t have a paruritious plan. Love
46:20
of Drow Polet was a bombache. I' m ho. There are two
46:32
types of people. This one is you Jesús Magaña Vázquez directed the comedy Black
46:54
human resources, a co- production between prism cinema of Córdoba and surviving films
47:02
of Mexico that opens tomorrow in about twenty theaters of nine Argentine provinces. We
47:09
are with Jesús Magaña, who is in Cordoba. Nice to talk to you
47:15
very nice that diver you' re wearing. On the other hand, thank
47:20
you, not the enchanted one. It' s me for your attention.
47:22
I' m really, really, really happy. Well welcome from the initial
47:28
idea to the premiere. It' s been over ten years. I understand
47:31
not how the history of human resources evolved from its beginning until seeing the hour
47:38
depicted on the Great screen. Yes, it is a big question, because
47:44
yes, indeed, it was a film that took too long to develop for
47:51
different reasons, because thank you. That' s the way to look for
47:54
funding. In fact, because that' s why we also ended up happily,
48:01
filming in Cordoba, Argentina, looking for, therefore, a greater financing
48:07
for the production values we wanted from the film, because it was that this
48:08
coordinate was given. I met Antonio Pita of prism cinema at the San Sebastián
48:13
Festival of two thousand and eight. I think I' m not going to
48:22
the co- production market and looking for interviews with producer belts. And well,
48:28
that' s where it started. But back to your question, yes,
48:35
the script had twenty- seven, twenty- seven treatments, the novel
48:42
by Antonio Ortuño I read about two thousand eleven, the novel of two thousand
48:47
seven and definitely in ten years, because one is changing, even one is
48:53
not the same in ten years. I' m not even the same person
48:57
who came up with it in the movie that he finally made it to himself,
49:00
and things are happening to him that' s too long. I had
49:05
the fortune with the project of being in a workshop two very valuable screenplay workshops,
49:09
an organized by Berta Navarro, who is a super important Mexican producer,
49:15
the producer of the labyrinth of fauna that suddenly has laboratories of script and direction
49:21
and with musicians yes, and with the script of Colombia, who selects projects
49:30
from all over Ibero- America. And those were also part, as important
49:36
moments for what was the development of the screenplay of the film that we were
49:44
finally able to shoot in two thousand twenty- one. There wasn' t
49:49
really part of the funding that was far advanced enough that we could think it
49:53
could happen in two thousand twenty. But then a pandemic happened. The pandemic
49:59
happened. We' re all frozen for a while. Now how he took
50:04
what you found in Córdoba that offered you, what an advantage, what attractions
50:14
you found in Córdoba to decide that the shooting would go there. Look first
50:19
at a producer who liked the project. It has to be said like that
50:25
and that you wanted to take my film, which was Antonio. But a
50:31
second trip, a first trip that I had when we were half- worded
50:39
that I was going to work with prism and survivors. I take a Scoutin
50:43
trip, a very first trip even before applying to the Inca and show me
50:53
possible locations. Then he came to a place that is in the industrial city
50:58
of Córdoba about the airport called Quru and shows me that possibility of having that
51:04
location so that they are the workshops of the company and I said it is
51:09
here no. But besides, it is a location that, surely, I
51:13
do not get in Mexico City and Mexico City in other places, even spectacular
51:15
and already from there he said hijole. Here I can put 50 meters of
51:22
rails for a painful film. There is one thing that makes me very proud
51:25
to say the film out there has a sequence of seventy, with a dola
51:29
and seventy meters, which was all a task of logistics, of production of
51:37
which we are very proud to have achieved secounts. There are several sequences that
51:42
truth has production values. Bomb. Yes, it is an important production in
51:49
terms of technical production. You can see that in the pictures. Now he
51:54
has the particularity of having Juana Viale as the protagonist what contrast and how it
52:02
was in what the joint work consisted, that it was a surprise to notice
52:12
that I in this search for the part of the cast that I had to
52:15
do from there. Another Ellenka, fortunately, is Cordobes, with very,
52:17
very talented people. I knew some Argentine actresses. Suddenly one would like Mexico
52:27
to have more access to current Argentine cinema. Yeah, and I ran into
52:32
a TV show that I didn' t like so much about the show,
52:36
but it really caught my attention. The actress was in that one that was
52:38
called was that she was Juana There she was and she said physically her type.
52:44
I like that toño got the contact. I talked to her. There
52:49
was like a filim but I have to tell you that until I was in
52:54
the predera, I didn' t know all the baggage of the family history
53:02
or the character Juana is here in Argentina. I had no idea what was
53:07
around Joan and her family. I really saw an actress who I think served
53:14
me. I had some very interesting soms with them starting some readings and I
53:22
didn' t really know anything and I found out about it in the film,
53:27
as in racing. I heard about that some roast at my assistant management
53:30
' s house giving more fuck and everyone already told me. But she and
53:34
the family are famous. I wasn' t clear, of course, I
53:38
had no idea. Not really. The attention was curious and I think Joan
53:44
understood Veronica' s character very well. That' s not what someone who
53:49
understood it is. Perfe perfection gives with the fisig du roll and gives its
53:54
ideology also by Shamanes. In some way let' s say Juana a character
54:00
like the untouchable, because she understands it very well. Not sure. Now
54:04
you' ve dispensed with color and that' s another aesthetic choice, developing
54:10
history in black and white. This had to do with what one had to
54:15
do with it. There' s a personal taste for black and white.
54:20
My cousin opera also said black and white. All my movies. I have
54:22
six movies, five movies before these, and there are always times when I
54:28
have some black- and- white sequence. Or in my fourth film it
54:30
' s even the footage very divided between white color is not something I like.
54:35
Another one seems to me to be the state as pure of cinema for
54:38
me, because if it wasn' t born black and white and there was
54:45
a moment of this movie and when it was like the pandemic and I liked
54:47
your work so much that I said when I did it, I don'
54:54
t care because that' s a commercial decision, let' s say risky,
54:58
not because people aren' t going to do it in black and white.
54:59
And another is that this film, which in the end is a farce,
55:02
a satire about the world of work and which seems to me that offices
55:08
are very grey places. Now, a palette of white, black, and
55:14
grey and grey colors was perfect. Exactly then that, but they' re
55:20
like the different motivations. No good, and I think it goes very well
55:23
for them they did their advantage certainly, certainly well, let' s not
55:30
go much further, let' s not spoil, as it is said now
55:37
Jesús Magaña Vázquez, director of the comedy Black human resources that since tomorrow is
55:45
displayed throughout the country. Thank you very much for joining us and well with
55:49
him we are saying goodbye to this new broadcast of GPS audiovisual radio. Thank
55:54
you goat in technical assistance and you know, as we always say, but
56:02
now, more than ever, see Argentine cinema until next week. Thank you
56:08
very much and thank you also for coming with us Jesus Magaña Vázquez. Thanks
56:14
to you a hug. This was GTs audio- visual radio. We'
56:30
ll be waiting for you next Wednesday at 19 o' clock by radio thirty
57:00
- three capil Thank you,