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GPS Audiovisual T05 P20 - ENTREVISTAS: MARIANO FRIGERIO, GUSTAVO FONTAN, OLIVIA NUSS · GPS Audiovisual

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GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, a treasure, a program with a gender
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perspective that nucleates the country' s film industry. Argentine cinema will never be
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the one it is until now. We, from audiovisual GPS, strive for
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a culture that is to sustain a country, in this case Argentina, a
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culture that is plural and accessible and has State resources for its development. Welcome
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to GPS audio- visual Radio, with the journalistic production of Norberto chap and
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the driving of who Julia Montesoro speaks to. Where Hernán graduated from the writing
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career of the University of Cinema and studied letters. What punctual fact led you
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to production? Why did you choose production? Made entirely fortuitous, which is
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that I was a student of the University of Cinema, which at that time
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was a school at the beginning of three days a week. Then have faith
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in me. You have to believe me, you desperate ones, forget about
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medicine, science. Those are superstitions. Now the month also destroys or ajan
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my immortal, El Santo, a film by Agustín Carbonere, prize for the
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best film in the international competition of the Baffici. The Holy One is facing
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tomorrow not prose with the felis, but I believe that early is not salty
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for the inauguration of the new temple that I charge, that the two scams
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of Sunday we will stop in the rose. We can' t go straight.
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I can drive if you' re tired, you' re not here
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for the note and I have to teach you things. Let' s still
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walk safely. There' s a town about patience. The good lord,
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he' s not leaving us now. Listen to you two, Jose,
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or whatever I need. Your wife tells me no. No, she'
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s not my wife in my daughter Elena, how much she calculates I need
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the rosé, sir, I got it in olaca. Don' t worry
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about us. We have time and depth you are nowhere we mission Praised,
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Lord blessings brothers, Blessings, brothers your manni, but what is your name.
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I' m Emilio, uh, you don' t get the punch,
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you don' t get the punch, and I' m worth just
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like Lenny. God gave you a mighty beautiful spirit. I' d like
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to invite José Emilio to a baptism. Here where pas tursa be careful what
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gets his head in. In the people there are many evangelicals, just as
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you insist on being founded by eyes. The wind sweeps with the direction of
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Paula Hernández, hailed in Toronto and San Sebastián. The wind that razes premiere
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in Salas. Thursday, 21 March. To Legenda Feroz celebrates its first week
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of exhibition with a very important repercussion. The documentary or homage to tango Feroz
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has the participation of the central protagonists of Marcelo Piñeiro' s prima opera,
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This is Fernán Mirás, Cecilia Dopazo, Leonardo is Baraglia, and is perceived
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as an emotional and affectionate tribute to that film and also to the 1990s.
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We then started this radio audiovisual GPS program with Mariano Frigerio, co- director
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with Denis Surfa, of this documentary ferocious legend and that well, we really
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recommend not to miss it. Well, thank you for joining us. You
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wanted to do an emotional and loving tribute. You wanted to make the two
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of you a fierce tango, or this was imposed as they rolled ferocious legend.
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If the premise was that the truth was to do a tribute and at
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the same time try to make a well complete documentary of what was the ferocious
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tango phenomenon. We didn' t just want to focus on the homage part.
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The previous documentary we condemned we made floaters and floaters had as a question
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more of homage and ferocious tango. I had like this whole cultural phenomenon thing
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that we wanted to treat as as complete as possible. We thought it important
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that the voices of the deserters be as they are, not the voices of
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those who are against Tango Feroz, who were as strong as they were at
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the time, and we also wanted the voices of the critics, as we
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thought it was good that, but well if I am very fanatical of Tango
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Fero, I am very fanatical of the cinema of Marcelo Piñero in general,
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then, like the part of the homage, we knew that we would leave
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you. I' m saying it' s easy, but I' m
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saying it' s inevitable, because we love the movie, not and we
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kind of start from that base. And what memories you had of those nineties
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of what Tango Feroz generated at that moment, look, when I' m
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from eighty- one, when it premiered in ninety- three. He was
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a boy, he was twelve, but I remember all the truth, the
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truth, I remember a lot, I remember the whole process of what was
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fierce tango. And I remember this thing that everyone was talking about that,
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not as beyond the movies, in itself as the cultural phenomenon. And I
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remember this thing about being a kid and that the movie knew it was more
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for bigger people and this thing about convincing us, like all my friends,
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was like trying to convince our old people to take us to see ferocious tango.
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And I remember when I saw it and it was like an explosion in
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the brain, like those milestones, like that one has in adolescence, I
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oppre adolescence of something that you like and from there discover, I discovered the
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world of cinema on one side and discover the world of Argentine rock. It
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was like the two things you did Rockero from Tango Feroz. Yes, yes,
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yes, he made me with Feroz legend, he increased this yes now,
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so far I take into account. Or good, but you made this
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documentary that recreates that spirit. Yeah, he tells me more about Marcelo Piñeiro,
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that is, when I saw Tango Feroz, I became a big fan
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of Marcelo Pinero and I kind of confirmed it with the rest of his movies
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It happened to me like after a little bit I followed and became a fan
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of other movie directors. And now, with the Feroz legend, I became
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a fan of Piñeiro' s films again, like I went back to discover
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that cinema, like I started that film. Well, among many other things,
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it was the initiatory film of many young people regarding Argentine cinema. No,
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I don' t. I think so. Since we started to make
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the documentary that they did not approach, I say the Argentine cinema and that
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from the ferocious tango they reached more that they passed to the room, that
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they did not approach, it seems to me like there were no films directed
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for us. So it was like it seemed like that was happening to me
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There weren' t any movies that were meant for us. Uh- huh
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So, well, I got, I got nitricite. This film then generated
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a stream of audiences. And what about ferocious legend, that is, when
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people see ferocious legend, the audience that has gone to the halls to the
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premiere of ferocious legend, that we remember, is in their first week of
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exhibition? What about young people? It happens that some people are going to
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see fero tango, ferocious legend without having seen ferocious tango and leave the cinema.
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With this we leave right now to watch the film and Piñeiro told us
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something that seems like a great compliment to me to us, like that the
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film can be independent of ferocious tango. I don' t know, too.
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I would very much like you to be seen by film students as well.
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It seems to me that in ferocious legend we also tell how a film
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is made. Yeah, and how he made a movie. And there'
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s a lot of that that I think is still happening today, not when
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it comes to writing a movie. Marcelo counts very well in the film in
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our documentary, the writing process of how he thought of a film. How
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he had to change course in that script, as he had to give like
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very strong timonazos, not when writing a script and then the complications that leads
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to being a movie. So, that' s why that side, as
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we like in that sense, not ferocious legend, legend, but it is
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the backstage also in some way of ferocious tango. Yeah, it' s
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absolutely like that. Now, in what circumstance you felt good with your colleague,
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with your co- director, what ferocious tango could it be to give
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rise to a documentary. From the beginning it seemed to me that the ferocious
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tango had been so powerful that it wasn' t just a movie and it
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seemed to us that we were going to find on the way many stories to
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tell around that. And so it was, as we had half of the
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fantasy that the ferocious tango had been a superproduction of always, like that the
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idea already of Marcelo opinion, in a superproduction and that it had a clear
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recontra and that it had something to recontra clearly that the teenagers and the young
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people were going to share and well, to discover all those stories, like
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that it did not hurt at all, so it cost him a lot to
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get the silver, that once he got the silver, was the hipri inflation.
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And yes and like that already seemed like a good story to tell and
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then the world of critics or criticism. I always enjoy not those successful movies
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and that critics get off the sidewalk across the street. I also found that
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very interesting to investigate. Yes, yes, well, it' s true
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that I don' t see I wouldn' t say well if we got
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interviews, they don' t say it, but we didn' t manage
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to interview the maximum referent of the critique of the nineties, which is quintin,
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not yes, creator of the hand, okay, he recognizes, I
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say it' s not right what they did, but they recognize at least
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what happened to that film, which not all the criticism that today claims.
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Tango Feroz I say it because I know it' s good. Maybe at
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that point that position is good. They learned, I don' t know,
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I don' t think Sintina was as firm as she took in a
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thousand nine hundred ninety- three. I liked it, we liked to put
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that sequence together, and then we had the location fetish. As Tango Feroz
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has the city of Buenos Aires as one more protagonist And then, in that
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sense, it was good to investigate those scenarios that they used, they were
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still standing and how the city had changed. And it is also the cinema,
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not the Buenos Aires of nine hundred and ninety- three. What changed
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around the cinema. It is not a matter of the whole sequence that we
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put together of the pedestrian lavalle, that for us it is possible to go
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out for a walk and have a cinema by blocks and what it is now
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and what they became. That was also very a priori in our idea and
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in the script. Already thought good and that and interview people, interview the
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actors in the locations. We were also very excited when you started to see
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tangoferos and you started to see that the locations are so important. We wanted
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to see what happened when we took him to them there and what you found
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out by making all that move, because, well, there was a previous
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investigation. I don' t know how many times you' ve seen Marcelo
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Opinin' s movie. I imagine a lot, but I' ve seen
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it a thousand times before. I mean, it wasn' t for the
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movie. There' s not a lot of things you didn' t know
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or what I know. I didn' t register it that the scene is
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where they have sex. For the first time on the terrace of the colón,
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I did not know it and when we discovered it it seemed like a
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finding, not how it was very good and for the documentary added a lot,
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not like it is the terrace of the colón and that it is not
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a building that has been thrown away. Yeah, yeah, yeah, and
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the same thing as many places, as I don' t know how to
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cost the fishermen' s pier is the same thing that was also not good
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and at the same time find other locations that were totally different, it also
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seemed to us that it painted the Buenos Aires, which no longer exists.
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No yes, although it has been a long time, but not so long,
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it does not believe that things change in that way, but well the
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cinema also changed if you change, there is a bulldozer in Buenos Aires.
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When we started the first script what was the cave where they made the scenes
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of the cave that were Paseo Colón and Brazil, the workshop school existed,
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existed. I saw him and I looked up and I saw what was the
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basement where they had done the cave and there was the Graffitti and you found
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us excited. Like a good thing. A thousand things can be done and
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suddenly, one day literally disappeared from one day to the other that they were
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doing read was taking the walk past the colon, as it is called the
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trobus and from one day to the other, literal as Taka passed a bulldozer
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and took it and as many other things, a symbol also of this time,
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as well as those places that recreated Tango Feroz. Well Legend Feroz shows
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precisely these contradictions, these situated, these hard questions that we are going through.
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In that sense, you thought that the film Legend Feroz could have this
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kind of repercussion. Today the truth we imagined. I don' t know
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when we made floaters, we were more surprised with floaters. When we made
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floaters, we did. I don' t know how anything more guys a
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much smaller movie and what happened with the repercussions surprised us a lot. The
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truth. We didn' t imagine that that could happen and with fierce Tango
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we imagined that it could happen, because it' s a movie that everyone
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loves, like our whole generation, that' s forty up, forty to
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fifty- five years, we all remember when we saw ferocious Tango, with
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whom we saw something fierce. I mean, it' s like it'
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s a movie that marked an era up to it for which they didn'
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t want it at all. No yes as if it served to plant itself
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from somewhere like no, I am more indie as my ferocious tango did not
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like me and then we were the rest that we liked, that we had
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liked always that caught us. So yes. Well, the film Legend Feroz
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has, among other values, these testimonies of characters who participated in that emblematic
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film and who are now also emblematic characters. I do not say besides the
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protagonists, I say there is the duo Martín Barrientos, there is David Lebón.
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There are people who do, procers exactly good, yes, yes,
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and Barrientos and Daniel Martinez are amazing, divine Divine beings, divine divine divine
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beings. Besides, we were lucky enough to record them in mendoza. We
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went to record with them, we did everything there and it was, as
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I don' t know, the nicest thing of all, as they are
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very loving and at the same time how to tell that story was not very
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good. Not like I know, love is stronger? It was a film
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Love is a song, a song yes, yes, yes, very famous
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and much remembered today. And it was done for this by two pibes that
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at the time were not famous or known, nor that they had composed thousands
19:59
of songs, nor that they grabbed the dave of the script and as a
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pitcher they were, but as if they were tested on a weekend and tried
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and came out that temon. They are not divine. David Legón also,
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as David Lebón was the producer of the album of the sound band, also
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a person as very loving and they also agreed this duo to make the current
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version. Yes, love is stronger. The version wasn' t specifically for
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us, but they were just planning the Pustellin radio, which was there with
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that idea. So when we showed up, he shut it down and they
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did it. Yeah, that' s how they released that version that had
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been sung by Ulises Butron at the time. Yes, and now they made
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him the same composers and then they also agreed to participate. Yeah. They
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' re stuck with everything that happened with the ferocious legends. They' re
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very cool. They' re kind of looking forward to it. Fernando Variento
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is seeing them in Barcelona and they send me not going to ask me and
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they are coming news and sending us the audios of the happiness that generates all
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this. In fact, we were all surprised by that as well as everyone
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we met from the team of fierce tango legend, we met with very rude
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people, such as Jorge Ferrari. Jorge Ferrari is a director of art set
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out for the history of Argentine cinema and theatre and is a divine type and
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as very happy of what we did and as very proud that we could show
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that for us it was also important, that not like the phenomenon tango Feroz.
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It was very strong in every way and the art of the film was
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very good, It is very important and we as people who do not know
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how they were involved in the world of cinema, but the common viewer is
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not aware of the art. But we wanted to highlight that not as it
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wasn' t just a good script was like everything, a great team that
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Marcelo built to put together that boat. Yes, yes, yes, yes,
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you said, it was an indie, independent film, but I would
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say that by the time, even within it began being an independent film,
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Tango Feroz, but it had just all these elements that gave it the bearing
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of a great production. Yes, yes, yes, and that you know
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how to reflect very well in fierce legend. Yeah, they kind of had
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both. No, or it started as a more indie movie in the sense
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that it' s not that Marcelo pinierora with millions and with I don'
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t know how at that moment he had the TV channels back. The other
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day he told me that in that year thirteen films were made and twelve films
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were bought by the television channels that were the ones that had as silver strong
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that Tango Feroz was not the only one that did not and was the only
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one that broke the records of everything. It doesn' t seem to me
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like he had that ferocious tango duality as indie and made with his friends and
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little by little as he was writing it and was advancing and suddenly it became
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a mega success. Okay. You are passionate about fierce tango and also about
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Argentine cinema, which is appreciated. That surprised us, too. We are
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premiered at a very sad moment in Argentine. It' s a very ugly
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time every day it doesn' t wake up and there' s some terrible
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news we hear in the news of the decisions they make around culture and film.
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And it' s just our turn to release a movie that claims that.
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Our cinema, as sometimes one hears that or want to make us believe
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that Argentine cinema does not matter the Argentine cinema does not see it anyone or
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that the Argentine cinema always the same as the no. I know a few
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things that we show here that we don' t, really, we don
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' t. It' s none of that ferocious tango. They were telling
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us to open rooms all around the interior because people were desperate to see it
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and the exhibitors were communicating without telling him chete, see that I' m
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doing very well after a long time, so let' s move on.
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And it was like first not, because then c yes, yes. One
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can spend a lot of time thinking and telling how many Argentine films continue to
24:36
fill the room without going further. One thousand eighty- five, who is
24:40
two years old, that is, the people of one thousand nine hundred and
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eighty- five, exactly one year and I don' t remember that my
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old people were living in Lobos and it was like going to see Lobos movies
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and it was a block of line and there the people that stayed outside.
24:52
It was a film that, after a long time, exceeded the million viewers,
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an Argentine film. So good for continuing to add yes, yes,
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yes, yes, perfect signs that that is stupid and that it is a
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lie perfectly yes, totally agree. Okay. Mariano Frigerio, Director, co
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director of Legenda Feroz, along with Denis sur Fek, is a documentary tribute
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to that great and emblematic film that was Tango Feroz with Fernán Mirás, Cecilia
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Dopazo, Leonardo es Baraglia, Federico Delía, Davisma Sagenig and Manolarias, María
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Suárez and many others that appear in ferocious legend, remembering then that he enters
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his second week of exhibition and the super We recommend many thanks for joining us.
25:52
Thank you very much. We' re still good. In it in
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it they can steal your heart, shit you with guns. In moron,
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you can get your head washed off by school. He never taught me that
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the world has been torn in half while dreams are bled out. But love
26:56
is stronger than purple stronger. We give like every year. Gustavo Fontán dictates
27:15
the workshop for the development of documentary projects, that is, at the Dak
27:21
Professional Extension Center. The course will be developed in a virtual way three Tuesdays
27:27
in June and two Tuesdays in July, at the time of eighteen to twenty
27:33
- one and free of charge those interested can register on the website of the
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Dak Professional Extension Centre until Friday twenty- four. Well, it' s
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a great pleasure to meet you, Gustavo, how are you? Hi Julia.
27:52
All right, thanks for the invitation. Well it said that you dictate
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the development workshop documentary projects as every year, but this is a year traversed
28:04
by a terminal crisis that forces to rethink the audiovisual industry. The extent to
28:11
which the conjuncture affects the programme of the workshop. Gustavo Mira, the situation
28:17
is very terrible. The attack is very fierce. The attack is very cruel
28:22
and very free. We don' t already know this. The attack on
28:29
cinema as the attack on culture, enjoys all gratuitousness, that is, something
28:33
is attacked with an excuse that is not real. That' s not true.
28:40
The question of savings. We know that cinema is not financed by state
28:44
money, so, well, this is the juncture in which cinema is attacked
28:48
like never since I am aware, I have lived when we were filming without
28:56
law and the difficulties we had to stop law and everything that the law has
29:00
produced is not true, It is all that has generated as a filmography,
29:06
a number of films of an enormous plurality recognized throughout the world. Well,
29:15
what we know and what is paradoxically, I think we have an enormous capacity
29:22
for struggle and resistance, because, for example, the registration for the workshop
29:29
in the first few days was you, I would say superior to previous years,
29:34
that is, in the first two days there were more than fifty registered
29:38
projects to participate in the workshop. What lets me see you saw that good
29:48
that it will not be so easy for them that here we are to keep
29:56
thinking, to continue working with our sensibility, to continue to work the two
30:00
with our arts, and that we will not deliver it so easily. Okay.
30:06
A characteristic of the workshops that the projects, although personal and original,
30:14
are discussed in group form, whether you will be guided by intuition or by
30:19
some hint like this, that you comment on the number of projects that were
30:25
registered. You don' t think this year that debate is going to be
30:29
going through the crisis. Yeah, I think it' s inevitable. It
30:34
is inevitable in many ways. It is inevitable in everyday conversations Tramps. It
30:42
' s impossible not to start talking about it. It goes through not only
30:48
what to do, but it goes through the lives. So it' s
30:53
kind of hard and I think it' s gonna hit. It seems to
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me that one of the things that I feel that these deep crises leads to
31:07
the search for more acute projects in deepening states emotions, that there is probably
31:18
something of anger and something probably of those feelings that move around these crises that
31:23
I understand that they appeared in the projects. Yes, surely good is that
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phrase crisis, that opportunity and in this case perhaps also because of the gymnastics
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that we have in these matters. This too is more ferocious than before.
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As you said earlier, we also have a training to deal with these issues.
31:55
No, yes, because it' s either that or you' re
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looking to be a documentary artist. What are the essential questions that are asked.
32:07
They do you throughout these workshops or that we formulate you itself. In
32:12
principle you saw what we mean by documentary is already inscribed in a very broad
32:21
consideration. It is not exactly what we saw in all these years, that
32:24
what we understand by documentary is a huge set of strategies, narratives and poetics
32:30
to dialogue with the real, that is the classic documentary, classic of the
32:36
voice, and what then there are lots of poetic strategies, narratives and for
32:43
what, to dialogue with the real? So what is inscribed in these projects
32:46
is always what are the definitions, what are the decisions to dialogue with what?
32:53
Thing of the world not to talk about what things in the world,
32:58
but to dialogue the song. I put the devices to dialogue with the world.
33:04
And this is the wonderful thing, because the projects in this regard are
33:07
very different. You have to think about each one, discuss the strategies for
33:13
each one of those projects, and this is always very rich since yes.
33:20
Now the workshop offers more questions than answers backwards, more answers than questions,
33:28
for example, for what or for whom it is filmed or whether documenting involves
33:34
putting into play an ideology, a conception of life. Yes, yes,
33:39
all those questions are inevitable and I to none of those questions, except the
33:47
very general ones that I can have a general answer. I have particular answers.
33:52
I mean, it seems to me that the important thing about the questions
33:58
is how the questions act in the projects, that is, what unique answer
34:05
each project gives, each project to those questions. That this would always be
34:12
the question, that is, when we ask ourselves questions, it is not
34:15
to find a unique answer, but for each project to respond from somewhere to
34:21
that concern, of course, depending on the characteristics of each project and also
34:31
the one that intends to carry out that project. Not sure, of course,
34:37
because there' s like a need to think too. You speak of
34:39
ideology and of course, there is no story, there is no look.
34:43
No ideology. Then it is impossible to think of a project without thinking about
34:49
the world view. But that view of the world is not a philosophical question,
34:53
it is not for a sociology treaty. They are unique answers that language
34:59
or visual find for that question. And this is the wonderful thing, because
35:04
someone can talk good. I think this about the world is okay and we
35:09
agree or not, but then see how the language takes care of those possible
35:15
answers, that this is the difficulty always to think about a project. Not
35:22
how it emphatically enunciates, but how it enunciates so that the answers or questions
35:28
become operational and something about the world, the universe it intends to reveal,
35:37
can be revealed. Of course it' s not if you' ll excuse
35:44
the expression a simple linedown. Not at all because you know out there is
35:47
the simplest thing to do on a news story. It is the same to
35:52
lower line, it is easier the ex rectanto is to give a sense to
35:58
that look, about an object, about a fact and all look disregards.
36:05
The look is not univocal. I' m not saying this one may have
36:10
the right and think if I am. I' m talking about something else.
36:14
We' re not talking, we' re talking about what' s
36:17
being said. How can you talk about this, how can art somehow,
36:22
how can cinema account for a universe, for a set of tensions, for
36:28
a set of concerns, for a product, for a set of human concerns,
36:32
for political stillness? How can cinema give an answer to that? And
36:42
this is the big question for every project always clear. Now, this is
36:46
a year where well, in the middle of the crisis, you launched a
36:51
book. Cuadernos del Merodeo. They are fragments of a personal diary, family
36:58
memories, reflections on the trade, photos, ancient leaves, many leaves,
37:05
and led you to combine all these elements and to translate them into a printed
37:10
work. Okay. Cuadernos del Merodeo is a wonderful book. I' m
37:19
not talking about the book of its contents, but about the edition of the
37:23
book published by a Cordobesa publishing house that makes some fantastic books that heaven invested
37:30
and good made me the proposal last year and the Dolores González and Flavia Rojas
37:38
girls who do the publishing house to think and design that book, which just
37:45
brings it together. I have to interrupt for a minute that must be something
37:49
urgent, because I' m sorry. We' re on the air if
37:54
you can silence him. Well, we' re in communication with Juan Gustavo
38:04
Fontán. There wasn' t a call coming in, and now she'
38:09
s got an air with us. This one' s radioactive. Yeah,
38:15
so you were telling me about this book. It is a book that gathers
38:20
the notebooks, the notebooks of three films, the work of three films,
38:27
of the terminal, of the adaptation of no one, nothing, never that
38:31
does not sign it yet and of a fiction that is called Ramón Vázquez.
38:36
And it' s workbooks. But they don' t play the work on
38:42
the script or the staging, but all the work on what surrounds the creation
38:46
of a film. All those things that bring me closer not to the story,
38:54
but to the soul of the film. And well, kindness and generosity.
39:01
I' ve got a copy here. Little to see. There'
39:07
s a wonderful book, it' s a joint book, with a dedication,
39:20
with a care. I am very happy, very happy with him and
39:25
very grateful for the work that the inverted girls of heaven did. Well,
39:34
then we' ll talk about the book another time, because it' s
39:39
also fresh out of the freshly calm hon clear now, in the same way
39:46
as in documentary cinema or any other order of art, for what or for
39:52
whom a book is published you ask yourself this question. The question is inevitable
39:59
and it is also inevitable not to try to tie up the answer. It
40:02
' s inevitable. You saw me think to see it exemplify. So every
40:13
time I go to the movies because a movie premieres I think I' m
40:17
going to go to someone to watch the movie and then, when there are
40:22
people, I think when I talk again after I meet someone. There you
40:25
always see the fantasy, in the fantasy of the futility of the act or
40:32
of making a movie or making a book, and that a little of that
40:37
has as an act. In that sense of good. You don' t
40:45
really know if there' s going to be readers and if there' s
40:49
going to be viewers. This doesn' t mean you don' t want
40:52
them. You want viewers and you want readers. And it marvels when viewers
40:58
get tired of a return of the film or a look at film and when
41:04
readers or readers say something about that book or bring an emotion, a comment,
41:10
then there it starts to make all sense. It is not those fantasies
41:16
that are dissolved in those readers, which has nothing to do with quantity for
41:22
me, but with the possibility of establishing human contacts and bonds and some kind
41:30
of this, of connection with something that has happened to someone, with this
41:37
we write or this we form into dialogue. As I said a moment ago,
41:45
well Gustavo Fontán, director and teacher in charge of the documentary project workshop
41:52
of zep Dack, which begins in June for reports and inscriptions, are still
41:58
on time link. SCP dac Org I said it right, that' s
42:07
perfect. Well, then there' s time, up to the twenty-
42:14
four, exactly twenty- two there can be written and it' s absolutely
42:17
free. Thank you so much for joining us. Gustavo sent you a big
42:22
hug. I don' t thank you and well, thank you all very
42:27
much. Be Cha Chao three Icamente. Olivia Nus won the award a certain
42:42
look at the best short film of the International Women' s Festival and Film
42:49
for her short sophia. In addition, he won the Cinema du fem award
42:54
that will allow him to compete in France with this short film and the prize
43:02
of the Association of Photography Directors for the best direction of photography. The short
43:08
film tells the story of a 17- year- old girl who is debating
43:15
with the overwhelming responsibility of caring for her terminally ill father. We' re
43:22
here at the radio audio- visual GPS studios with Olivianus. Nice to have
43:27
you here and good congratulations for this triumph, a taste and many thanks.
43:32
Well, how did the idea of filming sophie come up. Well, it
43:37
actually arises as our thesis of energy that is the National School of Experimentation and
43:42
Cinematographic Realization, which depends on INCA, is a public faculty of federal tuita.
43:47
Also and there, well, I run the realization career that is direction
43:52
and the final project with our team, which is composed of one person from
43:57
each race, a director of photography, a screenwriter, a sounder, and
44:00
so this was our final project. So we were there as part of that
44:08
school assignment to get back, but also very eager to be able to take
44:14
you a little bit further than a simple faculty exercise and mainly the short one
44:20
arises from the idea of recording outdoors, because we were making shorts with this
44:25
team, which had much more to do with interiors, with a little less
44:30
realistic, a little more dreamy things, and we got together with the team
44:36
and said, well, if this is our last challenge, together, at
44:38
least framed in the faculty, that we want to try. And there came
44:43
the idea and the desire of everyone to try another style, something more naturalistic,
44:46
more urban, and our screenwriter, her grandparents lived their whole life in
44:52
Villaluano, in lugano one and two. So, from the neighborhood, the
44:57
story came up, that that was something very interesting. That, from going
45:01
to get to know that neighborhood, we started together with screenwriter, who is
45:06
Camila Lopez to think about Sofia' s story, that the idea was that
45:09
it was a story inside one of those little windows, of all the windows
45:15
in that big city that is Villaluano, like finding a small story inside all
45:21
those people that compose that place. It is interesting and what counts Sofia And
45:27
well, Sofia counts, on the one hand, the passage to adulthood and
45:30
that complex moment of adolescence, where one is still small, but also sometimes
45:36
certain responsibilities fall, in the case of Sofia, taking care of his sick
45:40
father who end up forcing you a little to move on to the other stage.
45:45
And it also counts well, what generates in a person having to assume
45:51
responsibilities that one does not want or that one is not prepared or that they
45:54
should not be taken by someone so small or and good also a little the
46:00
relationship father and daughter, which was something of what emerged the history and containment
46:06
of the neighborhood. We were also very interested in being able to express the
46:10
dynamics of that neighborhood. We met him a lot, we went many times
46:14
and there' s something where, finally, in the short, she seems
46:19
to be so alone at the same time, she' s very contained by
46:21
the neighbors and by the dynamics of that neighborhood. Sure, well, I
46:22
tell you a little bit about all that. Well, this is then suffia
46:27
and instances of who or how it got to the woman and the cinema.
46:34
Well, actually, you' d already been involved. We hadn' t
46:37
participated in that festival. We knew him. But it' s good to
46:42
talk about this because the NERK has its own distribution of the short films that
46:46
are created in school. There' s a person named Michelle. Now I
46:50
don' t get my last name, but it' s very important in
46:52
school, which is who distributes us and helps us distribute these shorts, which
46:54
is very important to us, because the way to get a little out into
47:01
the world and this year Michelle was fired as much as many other people in
47:06
school. Then we learned that we went into the festival by other comrades who
47:09
saw the programming and realized that we were, that is, us. It
47:13
had not reached us in communication because, unfortunately, that area of the school
47:16
was defined. So, well, it was a great effort by other school
47:22
workers who helped us carry out and continue to carry out the sophia distribution.
47:27
But it was also a nice recognition and it helped us all understand the importance
47:31
of that role in school and, well, the pity that all that is
47:35
being financed as well. Sure, sure, yeah, terrible is that situation.
47:42
Now. What happened to you when you heard about the prize you had
47:52
won, the most important prize of the Women' s Festival and the cinema
47:55
that, on the other hand, let' s remember it has been the
48:02
springboard of many directors not who passed by with their first or second short,
48:08
with their short film, and then they carried on. They' re pursuing
48:13
a very consecrated career. What happened to you? You imagined you could win.
48:21
How you took communication when you found out. The truth is that we
48:25
didn' t expect him at all, we, for us, were already
48:30
a huge prize to be at that festival. We were very happy with our
48:32
cheese team having passed and I honestly forgot about the possibility of winning something.
48:40
It' s like that was already the prize and they contacted us and asked
48:45
us to extend the invitation of the ceremony to our dfe, Marina Ramírez,
48:50
and there I said ah well, maybe something won. Marina then I went
48:53
to accompany them, but without waiting for anything or any mention of the short
48:59
beyond that of Marina And well, first we won the pronounce it well,
49:06
cinema du ugly and it was a surprise and already there we said ah this
49:12
is beautiful. How good it was as a joy. So for the last
49:15
prize we were kind of relaxed like we didn' t expect it and when
49:21
we were named, even I had to make my friends Tico Chenos named us.
49:24
I just finished it and that was a lot of surprise, a lot
49:31
of joy and also a lot of thanks for both for the award and for
49:38
continuing to hold that festival that is so important and open so many doors and
49:44
to all the people that were there doing what we do a little bit of
49:52
the feeling of gratitude that we continue to do what we want to do and
49:55
what we tell and keep telling these stories today. Unfortunately, cinema is one
49:58
of a lot of courage, also of a lot of courage and of putting
50:01
a lot of us, so I felt very grateful that all those people who
50:07
were there are putting the same thing to tell stories. Sure. Now,
50:10
you also mentioned something when you went up to receive the prize. And you
50:19
just remembered it now you are formed in the enerc the National School of Experimentation
50:27
and Cinematographic Realization that depends on the INCA and that is a public school and
50:32
as you pointed out Federal Vos. Yeah, what does public education mean to
50:38
you Wow a lot of things, but it mainly meant the possibility and opportunities
50:52
to deny people those opportunities. It seems to me one of the most terrible
50:57
acts there is, because it is perpetuating injustices and, at a certain point
51:07
in public education is also the possibility that a country has its own voice to
51:12
be able to understand that ideas, that stories, that everything is in everyone
51:16
' s head, but that we need that opportunity, we need that window
51:21
in that place to be able to express them, to be able to understand
51:22
them. So nothing, that, there' s a lot more, but
51:27
that' s what I' m thinking now. Now, the short will
51:31
then be in cinema fem if you will also include an invitation for you to
51:38
include it. We think it doesn' t include. We are making a
51:44
lot of effort to see If we were able to present it, it would
51:50
be very beautiful aha and it would be the first international premiere presentation. He
51:54
' s exactly suffocating. Yeah, sophia. We had another short film at
52:00
that festival, which is a short documentary, which we did in Pandemia all
52:04
through zoom and we had the possibility to be at the festival but not to
52:07
go because, in addition to the pandemic, so of course, this is
52:12
a great time to be able to present it there. Yes, I mean,
52:14
you have some contact with the woman and the cinema, with the woman
52:19
and the cinema. Not so much, yes, we had the chance to
52:22
be in Dupfens' cinema with that festival. Yeah, but it was through
52:28
the woman and the cinema last year too. No. No, ah this
52:30
time it was through the woman and the cinema. Well and you were just
52:35
talking about the exhibition a very important point in the short films, not to
52:43
mention, but also in the feature films and especially right now, not what
52:49
is the path you are thinking or imagine for sophia from now on in more
52:54
look. Being very honest is what I' m saying. There' s
52:59
something that everything that' s coming to you with sophia and what' s
53:02
coming is already for us an award and something very beautiful and that we didn
53:09
' t expect as well. But well, a little bit of this award
53:15
gave us how the che- type feeling is. It' s good that
53:19
we show this. It' s important to show what we do. It
53:21
' s very important to prove what we do. In fact, it is
53:23
the cool part of our work that others can see and hear what we want
53:30
to tell. So we are now in that process, in being able to
53:36
try to re- establish that range of the NERK and help us continue to
53:40
distribute the short nationally and internationally. You, as well as a good filmmaker,
53:46
are actris. That' s also the way it is and you had
53:52
an important participation in Cromañón, a streaming series that is going to be seen
53:57
this year. I imagine if you' re a director here actress more than
54:02
a director, or depending on what' s going on, I feel like
54:08
I couldn' t be an actress without being a director and I couldn'
54:10
t be a director without being an actress. At least I think that about
54:13
me. The truth is that there were, as of course, moments of
54:19
one and the other. I, when I was very young, studied a
54:22
lot of acting in theater schools, but then I decided to go to film
54:27
school, thinking that it meant a little leaving the performance. But film school
54:31
was my best acting school and well, towards the end of my career came
54:36
the possibility of being in the cromanion series, which was the first thing I
54:39
did professionally. I mean, it was a big jump and nothing being there.
54:45
I also understood that all the tools I had had as finished sealing,
54:51
being behind the camera and understanding eating a shoot, understanding how it is acting
54:55
in camera and, in fact, many of the things I learned in the
55:00
Cromanion series we applied with trinidad breu that is the actress of our room,
55:04
that Sofia, that good. For me it was very important that moment with
55:08
her of power also back everything I had learned currently in the series to pass
55:13
it to the directional part. So I feel like they' re going to
55:17
be feedback good a great year on a whole big ink agent, it looks
55:22
more than interesting. Well Olivia Thank you so much for joining us the director
55:31
of Sofia, the short that has just been awarded. She took the festival
55:35
' s top prize, women and cinema, and well, she' s
55:39
one of the young promises. As a phrase, a little old, but
55:45
it is the truth of Argentine cinema and happily with this recognition surely begins a
55:54
career as a filmmaker. We' ll go with her then. Don'
56:00
t stay here because it' s a bad night. Thank you very much
56:07
for the company' s support always and you know, as we always say,
56:15
but today, more than ever you see Argentine cinema and if it is
56:21
from Argentine directors, better until next week. Thanks for joining us. Look
56:43
at this, that audio- visual radio. We expect you next Wednesday at
56:53
19 hours by radio thirty or thirty chapters or