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GPS Audiovisual T05 P24 - LUCIANA GRASSO COPROTAGONIZA MIRANDA, DE VIERNES A LUNES, DE MARÍA VICTORIA MENIS · GPS Audiovisual

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  GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is the Argentine cinema
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  in the look of Julia Montesoro, 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 GPS audio- visual,
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  are committed to culture as the fundamental pillar of a society, a culture that
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  is plural, accessible, diverse and has State resources for its development. Welcome
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  to GPS Audiovisual Radio, with the journalistic production of Norberto chap En, the
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  technical operation Gonzalo Sorais and in the driving who speaks Julia Montesoro. Let'
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  s go to our first interview today. Vanesa González Co stars in invisible stories.
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  Guillermo Navarro' s thriller, who tomorrow enters his second week of exhibition
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  in Salas. Together with her, they make up the Lionor A Wexler and
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  Antonella Ferrari cast, invisible stories that are inspired by real events. She dives
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  into the subject of trafficking, the obstacles of justice and the despair of a
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  mother to find her daughter. We' re with Vanesa González. Welcome,
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  how are you? Okay. Thank you very much, very good forte good.
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  I' m glad what movie you imagined the first time you read the
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  script in that good one is a script that' s priori and very strong
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  in the story that William wanted to tell a mother and a father through this
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  fatal loss of his daughter is kidnapped and when these materials approach, it always
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  gives me like a little bit of fear the idea of how obviously, you
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  stop them with all the respect of the world, because an urgent topic to
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  deal with. I' m a little afraid of falling into an artistic solemnity,
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  because I say standing in that respect there' s always something where one
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  forgets, which is a verse. Unfortunately it exists, and that universe is
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  full of Bin and people who are trying to survive in there and thus building
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  relationships beyond horror. So, well, I received that as very carefully and
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  talking a little bit with Guillermo to see little of what he thought based on
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  the movie. I knew that we were going to go down to Mendoza,
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  to sign the story and that the occasions were going to be quite complex places,
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  where it is a subject that is also very alive. In fact,
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  I remember when we were returning to Buenos Aires. We' ve spent tectites,
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  transported, years centers. So good to go to the heart of a
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  space of the pits that are happening seemed smaller to me and that is called
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  invisible stories, seems very powerful to me. Not because they are and says
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  the name p par seems one of the strongest things of the because we really
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  have from the art of opportunity to be able to make these cases possible,
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  something that I thank also in the theater. The same thing you can get
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  closer to the microphone, because I' m listening to you cut. Thank
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  you better there. Yeah, you were telling me then that these kinds of
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  stories are your turn to play. Yeah, I feel like art is a
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  little bit of a channel to talk about these issues. From another place,
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  I think, unfortunately, it has been naturalized to receive news of this order,
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  because we are very used to seeing arms where it already appears as a
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  common thing, not taking in the morning and you see a job every day.
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  I feel like you' re treating us to Dr We' re in
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  no position to solve this. I also don' t think art will find
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  it, but at least put things on the mint to keep talking about posistori
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  yes, to make it visible, you don' t look for any specific
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  bias. By choosing a role, you have the possibility of being selective.
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  The possibility of being selective I gave it to myself over the years, not
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  because I feel like I have a comfortable position or at least always. But
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  it is something that I allow myself because I have already done things that I
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  have not been entirely happy and then it is price that paid, because I
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  had a good time doing it, because the greetings I knew then, in
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  general, there is something that matters to me, that it is I can
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  talk about something that I am interested in talking about today or where I have
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  my attention. It' s already a point in favor and then with the
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  people I' m going to share that fundamental work. A little look at
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  the material that teacher or a director and colleagues and what was the main challenge
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  when addressing situations are opposed to your daily life. You. I think that
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  at some point, for example, the case of invisible stories by the character
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  Ramina who touches me, something I was busy with, which was to find
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  within that hell a virtue, in that daily life, to find him a
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  certain virtue, not a little what I was saying before. All worlds have
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  ties and suddenly you see that the hijacked chips ending up arming a Christmas tree
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  with the hijacker, I say, hideous bonds form, like a cooked braid,
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  contradictions, but that' s what' s going on. Then it
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  was like leaning on me that I had built a certain daily life, relationships
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  where there is inertia, where there is a hunger for boredom. Horror happens
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  all that our privileged life. But in that hell there also end up being
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  daily. I think the biggest challenge was to be able to find that,
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  this space thing. She' s got to be all the time as a
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  trisco, being on the horror scene, seeing how these girls find a certain
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  motivation. In there, well, I was just going to ask you not
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  how you find common features with your Rommi character in your voice, like you
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  mentioned it just that she protects and preserves the teenager who falls into the trafficking
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  networks. I think if there' s any common ground, it has something
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  to do with maybe the same. It' s an impression I have of
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  myself being able to cope. Someone listens to me outside and says no good.
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  I think I think I have a certain ability to adapt. In general,
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  I adapt to the spaces I am Sometimes that' s good And sometimes
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  it' s good, but it' s like it happens. And yeah,
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  maybe there' s something about being attentive to what happens to each other
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  and those two ways. Yes, and from there also to be built then
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  this character RUNNY I do believe that I lent it as that there is something
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  of that that turned out to me that it was not so conscious, but
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  that what was at hand to work and then, obviously, that the context
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  time lead before to a location that collaborates so much for the topics that are
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  telling something that starts to happen clearly co- edited, of course the likelihood.
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  Don' t look for verisimilitude in what is being created now, When
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  you approach a subject as sensitive as trafficking and abuse, you prefer to abstract
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  from the real world to compose the role or you let yourself be carried away
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  by your sensitivity look in general, it' s like I can' t
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  put the performance as in a mysterious place, like I feel that as much
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  as one is doing a dramatic, violent or funny scene. We' re
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  always having the pleasure of playing I say we' re always intervened because our
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  job is to believe in what we' re doing. Then it always has
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  as a joy that you are inexplicable what a drama is like. But that
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  ' s not related to turning to a point, the healthy or an ironed
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  fear. When it happens to me at all, it starts, starts and
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  that to see in this and finish, I was never taken by a situation.
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  I don' t think that' s very, that' s true,
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  that' s why it' s my opinion. When it' s
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  over, I was right and I was going to eat and it' s
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  over and we talked about it, you know you have emotions very handy,
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  because we work with instruments according to mind care, but there' s something
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  where we' re formed to understand that that' s also part of our
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  work. And after you generate a trade that you go in and out constantly
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  and it' s part of a game that doesn' t take away from
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  you. No, it takes, no, no, no, no,
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  exactly, yes, but no. No. It' s nothing that'
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  s related to him mystic. No. Yeah, yeah, yeah, yeah,
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  working inside that group where it' s built. That one was just
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  saying that good the movie, the shooting took place in Mendoza and was traversed
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  by the pandemic. In addition, how was the experience of filming there and
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  in those circumstances that today seem as far away. But, well, it
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  ' s not that many anymore. He had his. No, yeah,
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  well, first it was a flash because we didn' t know we were
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  going to be able to travel or not. And when we got down,
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  I think it was the second trip I made after the situation started to catch
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  a plane. The first one had also done it so that it is to
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  be a movie jumps and is that it touched us Mendoza and also with Barbijo,
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  with everyone crossed that it was from the running of the bull, that
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  it was one of the most exposed to travel in adie and then it was
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  that we were just getting there and all week we had to test, because
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  such a big team was difficult. We were constantly making out with beards,
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  we just took it out to film. We were back and down again with
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  that change of climate where suddenly there were people with griefe and we had been
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  covid no. But the truth is that the work also gave us a bit
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  of a scare situation, because at the moment we were all sucking a lot
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  the positions of the covid were like a mystery. Today I feel that everything
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  that is happening now is almost as fatal as for the video of how serious
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  the covid was but there is a point where, if we come two have
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  paliated. Yeah, yeah, total. But well, it' s all
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  over. We haven' t had almost any children, very few. The
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  team will be infected. We' ve had enough, enough. We talked
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  a moment ago about when you first read the script and there you also looked
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  at conversations with Guillermo Navarro, with the director how the method of working with
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  him was, that there was a previous process to reach the character he was
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  looking for in your house to Romi and because he also lives in Hawaii.
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  Then we had had as meetings also by Zoom Not to tell us a little
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  bit the whole idea and then we had as textures also for long as Ferrari
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  as you find us so by video called and he many years ago that you
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  had history really wanting to put it in the cinema and since he has a
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  very personal bond to talk about this topic, he had like they are the
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  film, very in the head and the place now talking about this role he
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  also played but since he had very clear where the parallel story line was going
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  that the story ends and with his daughter and a little bit talk about the
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  trafficking when it is not recent, not because a character of anto is just
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  kidnapped, but there are the women who are there a while ago and where
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  there is a life built there, if there is like a kind of resignation,
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  like that all that dreams life, all that was put in a place
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  thinking well, I go out, I get out and if I get out,
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  well, what I put together here, that I could put together,
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  here for first not to die. Yeah, it' s a level of
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  I don' t know if to call resignation the word, but I don
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  ' t know. There' s also like a resilience in this character who
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  accepts what' s up to him and went in charge of the batteries,
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  retruxteresan. I don' t know. It was very clear to me when
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  Guillermo talked about the character and I immediately felt like making Romin feel like something
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  happened to me. With I think from the book it seemed to me that
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  the child was very clear, because I knew how it was how it ended.
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  It' s not easy. It' s always the movies. Out
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  there with characters who aren' t the ones who use the line of action.
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  Yeah, and all of a sudden I think it was well written.
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  I don' t know. Yeah, that' s right. They have
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  a dramatic progression. No. On the other hand, almost key. Any
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  story, no, but in this way it doesn' t always happen exactly.
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  There are times when if you' re not people who take the line
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  of action, there are things you have to build for yourself, but they
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  ' re not spreading. That was no longer the case. I was good,
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  okay. I close the cha in the almost the same way we open
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  it. What a movie gave you back the big screen and the audience,
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  what caught your attention. And I think I was very surprised. So the
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  film is strong, it' s not too loaded. I' ve seen
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  the movie. That' s why I insist on names or my sensitive story,
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  it' s no less a fact, but yes. What happened to
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  me is that for the moment I felt a lot, so people laughed at
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  some gossip, that there was inside the place and I said how lucky it
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  could happen. This, not because people necessarily have to laugh in a movie
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  and feel more relief in a movie that you are horrifying. But there'
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  s something I insist on again with the subject of cotianity, and knowing that
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  there' s a universe in there, even a universe in there, and
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  being able to see in some characters that have suddenly been able to have my
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  pro moment of happiness in there, and that' s in the context of
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  a movie. I found it valuable to people who laughed at answers between the
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  clues, or I don' t know things that end up being important to
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  her, like clothes, as I thought that surprised me, that happened at
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  least you didn' t expect it. Not clear, it is also immersed
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  in the work and creation of the character and history. I guess you didn
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  ' t expect that either. You' re looking brighter if you want a
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  character or a story as terrible as the one that tells invisible stories. Not
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  good with that González is the co- star of invisible stories. This Guillermo
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  Navarro thriller, with production of Rio Films, that we recommend to see is
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  in theaters and that' s where you have to see it. And let
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  ' s remember then that he' s in halls all over the country,
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  that he enters his second week of exhibition and that, well, you have
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  to see it. Thank you, Vanessa, for joining us. Well,
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  thanks a lot to you and a big hug, a hug hello Silvio the
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  Paul even with Vos. He didn' t call you anything, not because
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  he went to the doctor tomorrow and didn' t call me. He didn
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  ' t come back. I don' t know anything. And weird,
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  your brother, where you are, how I know you called the police.
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  Yeah, I went to Diaz. I denounce it, but I don'
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  t take it. They told me I' m sure. What has been
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  helped with the groom. That' s it, son He' s still
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  wearing his clothes to school and the police. What he did with all this,
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  for life neither. Those are the invisible law with Leonora Wexler, Vanesa
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  González and Antonella Ferrari, a film by Guillermo Navarro with production of Rio Films,
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  premiere only in Salas Craft. It can' t be if you know
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  about the girl that came to yesterday, Maite Sorry she' s looking for
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  Daniel the lifeguard, she' s drowning someone. Yeah, I' m
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  all the same. The same thing happens to us all, very, very,
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  very, not to say that something is going to change my life.
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  A wreck a marine movie is a wreck. Premiere in Salas 27 June.
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  Alejandro Díaz Castaño has been in charge of the Gijón International Film Festival for eight
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  years, whose 60th edition is to be held from 15 to 23 November and
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  which has opened the call to present long short films with special emphasis on independent
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  cinema and emerging filmmakers. We' re with Alejandro Díaz Castaño, Director of
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  the Gijón Festival. Alejandro how you are a great pleasure to receive you here
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  on GPS audio- visual Radio, since nothing. Thank you very much for
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  the invitation to the interview and this meeting and for making you dry of our
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  festival, which, in fact, has just opened the call for the sixty
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  - two edition that already a few and that will be held on the 23rd
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  of November of this same year. How the programming of the Highon Festival varied
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  from your incorporation and that axis eight years ago, perhaps in the festival and
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  that people really are going to be already the eighth edition and well, the
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  programming yes, that has been varying, has gone through various phases. It
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  is also true that we had the moment of the pandemic. We had to
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  do an entirely online edition because of the restrictions that existed at the time that
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  they did not allow out in the halls. But, on the one hand,
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  online programming has been considerably strengthened. That' s something that' s
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  been maintained. Although, it is true that right now it is more,
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  it is more composed of recent film cycles, but not of premieres that we
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  are saving them more so that people will go to the theaters to see it.
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  I think it is important that we do everything we can to ensure that
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  the cinema continues to enjoy itself in the halls. I think the festivals there
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  have a great responsibility. And then, well, basically, the biggest change
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  there' s ever been was that the official section now has two competitions.
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  One called albar that' s for that movie theater. Let' s say
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  what noble wood means in Asturian and it is a bit the cinema that best
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  exemplifies our logical programming line. Cinema doctor, has ideas, has staff and
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  a type of cinema that has a calligraphy, expresses ideas, expresses feelings and
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  expresses reflections that help reflection. I think it' s something important to us.
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  And then we have a second competition. It' s called retuellos,
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  which is an asturian word also for green shoots. And there we have first,
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  second and third films, first seconds and long third ones in charge of
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  saying these that are called to be a little the great filmmakers of tomorrow,
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  which is a line of work. The Festival of Jón has always maintained for
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  many years, for here they happened when they were hardly known filmmakers such as
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  I don' t know how to give gift Knovsky or Clerteny or Keley Richard
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  or people like because I don' t know how Nicolas Windin himself says to
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  quote some not yet, because it wasn' t let' s say consecrated
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  filmmakers as they are. Well Gijón stands out, among other aspects, for
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  valorizing independent cinema, as you were referring only to women- led cinema,
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  asturian cinema and Ibero- American cinema. Those searches respond to your cinephilic interest
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  or were appearing on the good path. On the one hand, I believe
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  that the fact of programming more cinema ever made by women, to begin with,
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  I think it was something that corresponds to the times. It' s
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  not about giving anyone the selection at the festival, but it' s about
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  trying somehow to make the selection as balanced as possible. And it has not
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  been too difficult, considering that in recent years, there is an increasingly interesting
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  film directed by women who sometimes have more films directed by women that were always
• 25:26
  more difficult for them to gain access to management. A few years ago and
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  we just echoed this And we have seen also, because finally, as directors
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  they could win festivals, great festivals like the Khan Festival, like the Berlin
• 25:41
  Festival, like the Venice Festival recently, something that was not usual at all.
• 25:47
  And obviously, because we can only echo this particularly interesting movement in Spain,
• 25:55
  with many young directors who have passed through Gijón' s fetus. As
• 26:00
  Carlas Simón may be, it cannot be Celia Rico Elena Martín for quoting him.
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  Some don' t cla rocket or, as Elena lost him for quoting
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  a few. I believe that there is a quarry of great filmmakers that,
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  moreover, collaborated among them who are usually friends and exchange ideas as well and
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  I think it is something very interesting to reflect. Then, on the other
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  hand, the Asturian cinema. Yes, which has been very important, because
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  before we started in the direction of the festival, no one remembered the last
• 26:44
  Asturian film that had competed in official section. And this has changed a lot
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  and almost every year we have some Asturian film competing in the main sections of
• 26:55
  the festival, not just a regional section. I think this is very important
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  and it has also helped people to take more and more seriously. The people
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  we have here in Asturias, their projects work harder, also because doing it
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  that more effort to work them more can get that prize to be in an
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  international competition in Gijón. No. I believe that this is something that we
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  have also tried to promote with other initiatives, such as the FIX Academy,
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  which is an initiative that we have had in training and which we are continuing
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  now with SEMILLERU, which is another of ours, another of the legs of
• 27:38
  the festival, which is for work in development and also for training. We
• 27:45
  have already tried as much as possible to collaborate with Asturian cinema, try to
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  promote it and then, finally, Ibero- American cinema. There we also
• 27:56
  start from a reality and it is that we have as head of programming Frank
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  since the year two thousand Great Gallo, because he was programmer of the Festival
• 28:06
  of Buffis and Buenos Aires for years and it is settled in Buenos Aires and
• 28:11
  I believe that his knowledge of Argentine cinema and Ibero- American cinema in general,
• 28:18
  makes it interesting to have that third competition, that is Earth, is
• 28:22
  in trance, that is dedicated to Latin American cinema. And this I always
• 28:27
  put on a simile, which is the simile of football. If you have
• 28:30
  a striker, who goes very well from the top, because you have to
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  put long balls on him, you have to put to the head, because
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  if you have a head of programming that has a huge mastery of Ibero-
• 28:45
  American cinema, because you have to take advantage and program a section of Brazilian
• 28:49
  cinema that, moreover, has given us great joys in recent years, particularly
• 28:53
  with Argentine cinema. Well, just three independent female and Ibero- American editorials
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  respond to the profile of Maria Aparicio, who was the award for the best
• 29:07
  director in the land section of the last edition of gig Hon. For the
• 29:11
  indefinite things, how you define the interaction with Argentine cinema. The truth is,
• 29:18
  it' s being very natural. I mean, there has always been
• 29:23
  a league and in this I think that of fran Gallo I have always had
• 29:29
  a lot of responsibility between the festival and certain Argentine filmmakers here in Gijón,
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  because quite a few years ago we had in official section, because Alisandro Alonso,
• 29:42
  besides that he won the festival already with Liverpool in his day, people
• 29:48
  like Pablo Agüero to directors like Ezequiel Acuña, already several years ago for certain
• 29:56
  only some not and then that it will take vamento, because we have had
• 30:04
  from names like Mariano Ginas or the own Lisandro, that usually comes almost a
• 30:10
  year, yes, a new year to the festival. It is so,
• 30:11
  every two years it usually appears together with new talents, as in the case
• 30:18
  of Maria or, for example, Juan Pablo Bassovi and Sofia Jalinski, who
• 30:23
  have also made palestra that it was a film that earned them here to have
• 30:32
  a series of fans and who then came also with their next work, that
• 30:38
  I do not remember the title is gone, but good with his next film.
• 30:42
  When they arrived in Gihon, who had not been able to present palestra
• 30:47
  because it was the time of the pandemic, they were hailed as they entered
• 30:52
  the room. I only lived, I saw it being held by people,
• 30:56
  the audience, because they were very fans of that movie. I think it
• 31:03
  ' s a very special relationship. I think that also Argentine filmmakers are at
• 31:07
  ease in hip Hon with the audience of Gijón and with a little also the
• 31:11
  dimension of the festival that we have. No, but I think we'
• 31:14
  re a festival that we have top- notch visitors, but that we have
• 31:19
  a size, a little smaller size of other festivals of our own let'
• 31:27
  s say projection. I mean the size, the number of movies to the
• 31:32
  number of movies we program, that we try to keep it always in a
• 31:37
  size that allows us to breathe programming and that all movies have their moment with
• 31:41
  the press, It' s a time with the audience and its visibility,
• 31:45
  because we do believe that accumulating movies in a lot of sections and accumulating premieres
• 31:52
  is not always positive. Sometimes it' s better to keep it. Let
• 31:55
  ' s say well, we really believe sometimes we don' t always want
• 31:59
  it to be better to keep the size of the sections in something more manageable,
• 32:04
  because so the films also have more chances to access prizes, on the
• 32:07
  one hand and on the other, because they have more chances of having their
• 32:12
  moment with the press. I think it is important that the press should not
• 32:15
  be suffocated by an excess of films in competitions. Well, until they have
• 32:23
  to have a movie to be hosted by the Gijón Festival. It' s
• 32:31
  a good question and very difficult. That' s a very good question.
• 32:34
  It' s very difficult. Yeah, let' s see, really see.
• 32:38
  If we always say because I have something, it' s not something.
• 32:42
  That' s the most important thing that has anything to do with it.
• 32:44
  On the one hand, we mix all kinds of movies and competitions.
• 32:49
  We don' t have fiction movies, non- fiction movies, animation movies.
• 32:54
  It' s worth everything to us as long as we say they have
• 33:02
  something, that differentiates them, that the differences of the rest and, above
• 33:06
  all, of those formulas that there are that are not only formulas of commercial
• 33:12
  cinema, but also the cinema of so in certain formulas, something that is
• 33:19
  being talked about a lot also because of all the labs and all these labs
• 33:22
  that there are for movies that say that they all do look a lot like
• 33:25
  each other and yes, that it' s true that there is a kind
• 33:30
  of festival film that sometimes look too much like each other. We are looking
• 33:31
  for the pelicans who break a little bit with this, who, although they
• 33:37
  have elements in common, with another cinema that has been seen in Gijón,
• 33:38
  who give it a twist of nut, who challenge us, who surprise us
• 33:44
  and who is a risky hundred and who is also a cinema that, although
• 33:49
  it has a greater or lesser budget, puts ideas and reflections on the table,
• 33:53
  which is reflective and, above all, also transmits to us humanistic values.
• 33:59
  That this has been, that Caez interests us more in the face of
• 34:01
  the cinema of cruelty, a kind of quinic cinema that was more common to
• 34:07
  see sometimes in festivals years ago and that is something that increasingly attracts us less.
• 34:10
  I think that we are at a time when that cinema will say,
• 34:15
  for example, the cinema of Mijel Han, for example, an important filmmaker
• 34:19
  for me, very important, especially in the 1990s. I think it'
• 34:24
  s a kind of cinema right now we' re less interested in, because
• 34:30
  it' s a cinema than it does to build, build and analyze in
• 34:36
  a very cold way and provoke. Let' s say showing precisely the lack
• 34:43
  or underlining the lack of dehumanization of today' s society. We, right
• 34:46
  now, are more about a cinema than we are about reconstruction, moral reconstruction,
• 34:52
  the destruction of values, human values, ethics, basic values, which
• 34:55
  I think we are seeing all the more at a time when they are threatened.
• 35:04
  It' s all important. We believe that it is very important to
• 35:08
  defend them, even if it sometimes sounds a little atopic, but I think
• 35:14
  it is something that is more important than ever to make clear that there is
• 35:19
  a series of red lines, as it is said now, not that we
• 35:24
  can pass it and, above all, to program films that take care of
• 35:30
  the characters and that, if you have to be critical of them, they
• 35:34
  are, but not in a cynical way or not in a way we say,
• 35:45
  in which they torture them yes very clearly values that seem in disuse more
• 35:50
  and more in this world that we have to live now. Well, it
• 35:51
  should not be foreign to you the severe administrative adjustment that exists in Argentina with
• 35:57
  the National Institute of Film and Audiovisual Arts. How this can impact or impact
• 36:04
  the presentation, on the inclusion of Argentine cinema in the Gijón Festival. Well,
• 36:15
  I think in this issue, at least for now, you' re
• 36:17
  not going to notice too much. I' m saying that because we already
• 36:22
  have some Argentine film confirmed and very interesting works are coming to us. But
• 36:28
  I think I could probably have it in the next and the next, if
• 36:32
  not reversed in the situation. And it' s a shame because I think
• 36:38
  I' ve always sincerely had a certain envy of Argentine cinema, especially a
• 36:46
  few years ago in which the cinema let' s say independent, let'
• 36:52
  s say more risky author. In Spain it was made up of a small
• 36:58
  group of directors and directors who were like snipers. And now it' s
• 37:06
  grown more. But at that time I saw a cinema that was made in
• 37:07
  Argentina that seemed incredible to me. I don' t know. We watched
• 37:10
  films like those mentioned by Lisandro Alonso, films like The Blondes of Albertina carri
• 37:15
  by sky, also the swamp of what Martel did, to quote another.
• 37:20
  I don' t know what to say. It was a cinema that seemed
• 37:22
  incredible to me, the scope it had and the ability to generate fictions with
• 37:28
  very little budget and with incredible interpretations that we go, that it was a
• 37:36
  cinema for me of great value and almost all the films that we saw,
• 37:42
  because they had financing of the linca that it was not something that was also
• 37:45
  habitual to see in Spain, because it is true that it is cinema more
• 37:49
  independent sometimes Spanish, because it did not have the ministerial funding, which in
• 37:53
  recent years with the modifications made from the direction of Batriz Navas in the Icanes
• 38:02
  Spain and continued now also by Ignas and we fall, because I believe that
• 38:07
  a job is being done that is being done because you see many more independent
• 38:12
  and risky films with the seal of the Ministerial. With this I want to
• 38:15
  say that I think it is a pity, because with an investment that I
• 38:22
  don' t think was very big, they were being able to finance many
• 38:25
  pelicans in Argentina that in the end, although perhaps later they are not the
• 38:31
  big blockbusters of Hollywood cinema, but they do help the visibility of Argentina outside
• 38:36
  the borders. Dan a good serve to have a prestige, an international prestige
• 38:43
  that Argentine cinema has and that I am very concerned that it can be lost
• 38:45
  in addition to all the young talents that Argentine cinema has. I don'
• 38:51
  t know from people like Santiago Mitre, who are already fully consecrated, who
• 38:55
  also went through the festival of Giphón years ago with the student, many years
• 39:00
  ago also to the festival. I forgot to quote you We have people doing
• 39:05
  that kind of movie that' s already in Hollywood It' s already been,
• 39:15
  let' s say, recognized And then all those young people who follow
• 39:20
  in the wake and hope that we' ll see their career cut short.
• 39:22
  We expect the same thing. Yes, well, Alejandro Díaz Castaño, director
• 39:27
  of the Gihon International Film Festival. Thank you so much for being here on
• 39:34
  GPS audio- visual radio from your city, Gijón, and well we will
• 39:42
  follow very carefully everything that happens with the festival. A taste, then,
• 39:45
  a taste. Thank you very much and nothing our best wishes to all of
• 39:51
  you in Argentina. Thank you very much, Pablito. I' m look
• 40:00
  you remember me it occurred to me as a giant idea, which is to
• 40:06
  gather the band watch Anda. Please, I think you should apologize for that
• 40:09
  authority. There what you' re talking about, really, and after you
• 40:14
  passed you saw what they look like here, but you heard what those girls
• 40:17
  said to a Chinese guy who said rat if your husband. What he wants
• 40:21
  a thirteen- year- old chick, while they' re stalking, to
• 40:23
  take pictures so that he has proof, so he can stay calm. Why
• 40:27
  I stopped singing. I don' t know things about life. I know
• 40:40
  how to do it. I think you' re Miranda from Friday to Monday,
• 40:50
  a film by Maria Victoria Mennis, starring Inés Esteves. Estreno escl Luciana
• 41:06
  grasso Co starring Miranda from Friday to Monday the film by María Victoria Menis that
• 41:14
  tomorrow premieres in Salas. The story is located in two thousand sixteen, when
• 41:21
  a sudden and sudden change is triggered in Miranda' s life, the character
• 41:29
  played by Inés Esteves, a professor of literature who, faced with the denunciation
• 41:35
  of situations of harassment and abuse of female students, decides to react. His
• 41:40
  stranger goes through his working, loving, and family life. In this family
• 41:47
  is Sophia, her eldest daughter, embodied by Luciana Grasso. We' re
• 41:53
  with her on Radio Audiovisual GPS Hello. Luciana a very big kiss and welcome
• 42:00
  to our hello program. Thank you very much. I wanted to be there
• 42:04
  in the studio, but well, I couldn' t get there today,
• 42:07
  but I' m here online. For me a pleasure to represent this film
• 42:13
  and thank you also who invited us to give you all the support for these
• 42:17
  nine morning that premieres exactly good that it was from your life in two thousand
• 42:23
  sixteen, what did you want to do towards where you lined up two thousand
• 42:30
  sixteen? Two thousand sixteen, I was already in the one two thousand sixteen,
• 42:39
  yes, I have thirty hours, that is, that in two thousand
• 42:43
  sixteen I was twenty- two and I was already at the National University of
• 42:52
  the Arts. Yeah, well, I had gone out high school with a
• 42:55
  clear idea of following my artistic career that I had started and devoting myself to
• 43:01
  that. And, well, always public college. For me it was hugged,
• 43:07
  a lot, I held back and it was also a lot of partner
• 43:14
  bra where I met a lot of people. So, well, yeah,
• 43:19
  in the sense of what he also talks about the movie, there was one
• 43:25
  I was also part of a place where a lot of things were warmed up
• 43:30
  in that year and in every year always. The student movement is very important
• 43:36
  and that is where many things come from and with all the security of things
• 43:42
  that we want to see grow from the things that one bet and also in
• 43:49
  defense of art, also in my case, in the National University of the
• 43:52
  Arts a particular space and is where the rejunct of people and that broth of
• 44:01
  cultivation of companions became very present also in my life. Of course and at
• 44:07
  that moment what feminism meant to you. Well, at that moment, for
• 44:15
  me to see I tell you from now on capable, from another persecution and
• 44:21
  also taking the years after the experience lived and suddenly, a bigger person at
• 44:27
  that moment was smaller, I was just coming out everything, I was newly
• 44:31
  able to start or get visible, not to start, but more visible.
• 44:37
  No yes, and I believe that at that time I was able to make
• 44:44
  the novelty of it possible to do, that is, of the value of
• 44:49
  women, of the value of things we do, of the value of the
• 44:55
  Union' s work, also to value things that were not valid before perhaps
• 45:00
  or to ask questions. I also lived a lot in that beginning, moments
• 45:06
  with my colleagues, with friends where there were also many questions, starting or
• 45:10
  in the environment, like rethinking things that happened or not, like rethinking a
• 45:20
  movement that affects us all and that is of all also that it is a
• 45:24
  change of consciousness. At that time, well, I don' t know
• 45:30
  what it will mean, especially for me, because it' s been eight
• 45:35
  years and because now I' m someone else and I can answer it from
• 45:37
  the person I am now. But yes, an accompaniment in a discovery that
• 45:45
  at twenty years of my life was also a discovery of everything among everything.
• 45:49
  Sure, sure, sure, well, I was just going there, I
• 45:54
  was pointing a little bit at the beginning of this conversation. Not because the
• 45:59
  film is located at two thousand sixteen and because those questions that are also asked
• 46:07
  by these young women at that time are also present in Miranda' s plot
• 46:14
  from Friday to Monday. No. Also, well, I guess and you
• 46:20
  are telling me in a certain way, that the film passes through those common
• 46:25
  spaces to your life, as is good, the passage from adolescence to youth,
• 46:36
  the questions around sexuality, identity, feminism. Yeah, yeah, I
• 46:45
  think there' s something nice about the movie and that its power was really,
• 46:52
  really, really, really, really, really, really, really,
• 47:00
  really, really, really, really, really, really, really, really,
• 47:05
  really, really, really, really, really, really, really,
• 47:09
  really, really, really, really, really, really, really, really,
• 47:13
  really, really, really, really, really, really, really,
• 47:13
  really, really, really, really, really, really, really, really,
• 47:13
  really, really. And a little is also good in the face of
• 47:16
  a fact that happened, a real fact and to get out of it not,
• 47:22
  but a very kind look, to let see so much the actresses,
• 47:28
  both to the original history, with several years later, both to women that
• 47:34
  in itself beyond being actresses or singers, or what I know are women who
• 47:37
  went through a life, who transitioned also those same years. So it'
• 47:40
  s like all that decants maybe alone and in the direction of the director,
• 47:46
  to want to see and show that not also yes now in what the character
• 47:55
  of sofi your character in Miranda of life from Friday to Monday how much voice
• 48:02
  you found in this sophi that proposed to you, Maria Victoria Menís. Well,
• 48:12
  there' s something curious that happened in the shooting, which is that
• 48:16
  with Inés Esteves we had two projects together in very little recording time, we
• 48:24
  finished one and we went together to Rosario to sign a film that this year
• 48:29
  is also going to premiere, which is called Vera and the pleasure of us,
• 48:32
  a film by Romina, Tamburello and Federico Actis also with a female look,
• 48:38
  because she is a director. There' s a director like that,
• 48:42
  undoubtedly, there' s a look found between the director and a director.
• 48:45
  And also because the protagonist is a woman who was the protagonist there. Yes,
• 48:50
  then we joined in two projects as a mother and daughter, because the
• 48:54
  other one was my yes such a father and good aside what you' re
• 49:00
  asking me about the soft character in particular, but the truth was that it
• 49:07
  was a bit curious that two directors, the management teams have seen us as
• 49:12
  from the same family. We were also something comfortable to work with that and
• 49:16
  we incorporated it and to me in that flow of what happened to us at
• 49:24
  work level, it was very good to also have inés of companion in order
• 49:30
  to develop these sofis more sensitive. Let' s say, it' s
• 49:32
  a character that, as you well say in the older sister, but it
• 49:37
  would seem that she' s the younger one or she has things that make
• 49:44
  her look more childish, feel more anineed and, apparently, also more impossible
• 49:49
  to develop things alone. Not then, I really liked to play it and
• 49:54
  get into that skin of what has a shoot now also that sometimes they are
• 50:00
  fast, that sometimes there is not so much time to say good to see,
• 50:04
  research, no, but yes the character saw a freshness and a sensitivity,
• 50:10
  a sensitivity so exposed that I liked very much. It was very,
• 50:16
  very cute, very funny, also for me, well not only with inés,
• 50:21
  with Laura Nine and also I am a friend. So we made a
• 50:24
  real family at the Diego de Paula shoot. Since it was very nice,
• 50:30
  also to travel that family in a very natural way, also sad. So,
• 50:36
  from that place it was to jump into the pool in a nice way,
• 50:39
  to say, well to see this couch is fresh, it' s
• 50:44
  sincere, it' s very sensitive. He has dreams, he has things
• 50:49
  of his own, and he has something very familiar, that is to say,
• 50:52
  he also sees in the film what these sisters are, what they are,
• 50:59
  mother- daughter relationship, not like banging that one' s cute.
• 51:00
  Yeah, yeah, yeah, yeah. Now, when it comes to defining
• 51:06
  the characteristics of Sophi, of your character, how was the work with Maria
• 51:14
  Victoria Menís, the director and author of the script not that I refresh you
• 51:22
  with defining it as clear that well, as Soffi is going to have these
• 51:28
  characteristics, or I would like it to have these characteristics, whether Maria Victoria
• 51:34
  put it this way or it was given in the script. In that sense,
• 51:37
  I mean not how to work. Yes you understand the elaboration if you
• 51:44
  want the character, yes I always understand. It looks like a hybrid there.
• 51:49
  I don' t know if it' s always, but I'
• 51:52
  m saying there' s something in the script, so you get a dialogue,
• 52:00
  a way of talking, if it tells you something about what it communicates,
• 52:05
  or it' s a character from what it pulls out. There'
• 52:07
  s already something to keep in mind. And then, with Maria Victoria there
• 52:13
  was a job of good, not cataloguing or specifying in the most restrictive sense
• 52:17
  of the word or saying I want her to have this and I don'
• 52:24
  t know, I don' t know from a place as more limiting in
• 52:31
  creation, but it was good. In fact, there is not a word
• 52:38
  or a dialogue of what happens to Sofi, but that is also established by
• 52:45
  the viewer. I don' t know how important the mother- daughter relationship
• 52:49
  is, what that also brings to Miranda. Not then it was like very
• 52:55
  much in that sense, more relaxed as good. I, if you sofias
• 53:00
  like this, like this, and oh, I love this. There were
• 53:04
  essays, there was text reading, so in the essays we were polishing the
• 53:10
  performance and, as things were said, the relationship. I think that was,
• 53:17
  as it were, global, not that there was something good, so
• 53:22
  if it wasn' t more like being accompanied in a more global way,
• 53:27
  I don' t know it comes out of that word. It' s
• 53:28
  good. It is also a character yours that good has, has a very
• 53:34
  particular sensitivity, special features in some sense, but that I imagine it would
• 53:43
  also have been a risk to screw off, not with the characteristics of Soffi
• 53:51
  and I say and that in the film he, fortunately, is not.
• 53:53
  It doesn' t happen. Well, I' m very happy, because
• 53:59
  yes and also on a personal level, it' s always a fear that
• 54:06
  you have as if you don' t go red. Sometimes too, or
• 54:07
  you have to act bad and like that, but to make no difference you
• 54:13
  saw the baddest of the bad ones. Or you have to rely a lot
• 54:15
  on the text and the material you have there too, because it' s
• 54:19
  like sometimes about how highlighting things makes you actually not let yourself see what they
• 54:27
  wrote for those characters, but rather draw more attention to other things. And
• 54:30
  then there' s already like a war I don' t know that looks
• 54:36
  more than anything else. Then I think that' s between the way the
• 54:40
  film is narrated. Well, the light everything is not part of that language
• 54:45
  that they want to find with the film and this material that is so then,
• 54:51
  so also everything else was taken care of and good at the level also
• 54:55
  of everyone, taking care of their profession, their things, also try not
• 55:00
  to pass, try to do it is a job that you have to be
• 55:07
  aware of that also yes, well Miranda from Friday to Monday was exhibited for
• 55:13
  the first time in the framework of the festival the woman and the cinema on
• 55:16
  screen Grande. I don' t mean what you found out there, what
• 55:22
  a movie you saw there on Grandy screen with an audience. I couldn'
• 55:25
  t be at that festival, unfortunately, because I was in Barcelona with a
• 55:30
  tour, with a play and I couldn' t be there, so I
• 55:36
  missed all the movies. I missed being there with my partners. It was
• 55:40
  my mom. Luckily, there was someone in the family who was but I
• 55:45
  missed it Uh- huh Well, you' re starting tomorrow. Yeah,
• 55:51
  yeah, I was, yeah, it was a really nice premier. Yeah,
• 55:53
  really good. We were talking about it the week before. Mary was
• 55:59
  here victoriously, if we were talking about it, about the reactions of the
• 56:02
  public, which were really very good and which, well, we hope that
• 56:08
  now, starting tomorrow, that Miranda, from Friday to Monday, will be
• 56:13
  in halls throughout the country, the same and much more will happen. Luciana
• 56:16
  Grasso, too. I really appreciate this audio- visual GPS contact. We
• 56:22
  ' re saying goodbye to you. We recommend very especially then, starting tomorrow
• 56:30
  and especially in the first week of exhibition, Miranda, from Friday to Monday,
• 56:36
  the new film by Maria Victoria Mens led by Inés. Esteves, we
• 56:43
  ' re saying goodbye until next Wednesday. Thanks for joining us, thanks for
• 56:49
  being here on GPS audio- visual radio. And you know, as we
• 56:54
  always say, but today more than ever and today is today, especially at
• 57:02
  this time, watch Argentine cinema until next week and we are here on Radio
• 57:08
  Trentopic. Wednesday at 19 o' clock. Don' t leave because it
• 57:15
  ' s a bad night. Thank you This was GPS audio- visual radio.
• 57:39
  We expect you next Wednesday at 19 hours by radio thirty- three chapters
• 57:45
  forty- fifty.