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GPS Audiovisual T05 P19 -ENTREVISTAS DIANA FREY, MIRTA BUSNELLI, DENISE URFEIG · GPS Audiovisual

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Audiovisual GPS 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 and Argentine cinema will never be
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what it is until now. We, from audiovisual GPS, fight, bet,
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We want a culture as the fundamental pillar of a society. We believe
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in this culture that is plural, accessible, diverse and has State resources for
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its development. Well come to GPS audiovisual Radio, with the journalistic production of
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Norberto chap and the driving of those who speak to them, Julia Montesoro.
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Denisur Fei did it again, along with Mariano Frigerio, premieres Legend Feroz,
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a documentary that revives the myth of tango Feroz. That first opera by Marcelo
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Piñeiro, premiered in a thousand nine hundred and ninety- three, returns together
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on the steps of floaters a documentary tribute, waiting for the float and its
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fans In that direction goes this new production also tomorrow arrives to the rooms Legend
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Feroz in theaters throughout the country, in the cinema Goumont, with Marcelo Piñeiro
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himself among the protagonists Fernán Mirás, Cecilia Dopazo, Leonardo is Baraglia, in
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short, all those who participated in that legendary prima opera that has made history.
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We' re with the Ne sur Feke here at the radio audio-
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visual GPS studios and we start with it then our today' s welcome-
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home program. Thank you very much, well, a taste and this meeting.
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Besides, what we' re gonna meet with on this occasion. Well,
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first I make you a little correction. The premiere of the mountain is
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on Friday. We' re heading for the general strike. Uh- huh,
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so it' s Friday, nineteen thirty in Algomon in the halls of
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the rest of the country. Yeah, it' s Thursday morning, nine.
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So good. We' re super anxious, nervous. Luckily, we
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had two performances in the buffisi yes, which were very exciting. They noticed,
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that they exploded, that the protagonists of ferocious Tango came, that Marcelo
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Piñeiro had not seen her, so they saw her there for the first time
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with all the people, with us and loved it. So that was kind
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of good to breathe out quiet mission fulfilled that they like it and good and
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on Friday we hope it' s another party, that it' s at
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the Comon. I think it' s going to give you another thrill,
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that it' s good that the Comon is open. It' s already
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an emotion. So we' re super happy with the show coming up.
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What is the risk and benefit, if any, of making a film about
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another film. Well, the main risk was that people who own that movie
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don' t give us the rights. Then there is no documentary, because
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without the images waiting for the float or if the images of ferocious tango,
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we could not make the documentary. So that risk was. We were very
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lucky and we met very good people in both cases and then good that the
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protagonists want to participate, that the directors want to participate and also in both
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cases were all very generous people and everyone felt like being part and good that
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they are available and that we can do the interview. Imagine that without Fernán
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Mirás we had no documentary and the truth was that it was very difficult,
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because he was filming his film in Uruguay. Then it was very difficult to
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coordinate with him, although from the first moment he told us that yes and
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always was very cool, there was no way and it was the last we
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did. So those are the risks that, luckily, went well. Now,
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what interested you in being a ferocious legend, your link to rock,
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what interested you more in your look at that movie, about that musical moment.
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Well, when we finished floaters that went so well and that was so
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nice and that had such a good reception, we wanted to keep making documentaries
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about national cinema, because we both like it very much. We' re
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very fanatical and it was Mariano' s idea in this case, which is
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her favorite movie. Now he confesses that it is not waiting for Carrosa,
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but it is ferocious tango. And I thought it was a great idea,
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because it seems to me to be a very initiatory film for the people of
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my generation and of his, too, who are a little smaller. It
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was the first film that many boys and girls went alone and their parents say.
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I went with my friends. It was the door to national cinema that
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was not seen much in young people. There wasn' t much going on
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in the national cinema Very few films were released. In fact, it was
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the gateway to rock to get to know those founding themes of national rock.
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It was also a time in the country of full menemism, with many marches
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for education and young people were very hot, at least my context. So,
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that movie that showed you this rebellious character and that phrase everyone doesn'
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t buy, everything doesn' t sell. It seems to me that,
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in many ways, Tango Feroz was a hinge film for national Yes, I
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remember, at that time it was in the Association of film chroniclers of Argentina
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and we had scheduled a week of national pre- releases and Tango Feroz was
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one of those films. And well, they were afraid of what could happen,
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because it was the first time the film was going to be screened publicly.
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Yeah, they, they don' t say they didn' t have
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to go. No one premiered him and left him outside people who had no
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idea what was going to happen. Yes, and they were all very surprised.
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Yes, and in addition to the late night, it had to be
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rescheduled exactly. They counted on places that would reopen the cinemas to give ferocious
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tango. Yeah, what theaters they' d shut down. So that'
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s very interesting that we tell in our documentary all the process or all the
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problems Piñeiro had. He spent six years doing it. Hyperinflation grabbed him.
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It all went back and forth and then the success it was and how it
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changed a lot of people' s lives. Really that movie now ferocious legend
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you guys. What they set out to rescue above all, because they have
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to make a documentary about the film. It' s a tribute, but
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there' s also a look from you about that movie, about that yes
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it' s that movie. We were very clear that we wanted to include
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all the voices, the voices that honor, but also the dissidents. Then
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we also included musicians who did not give the rights to use their songs.
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We wanted to include Litonevia, who did not want to participate, but somehow
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participates, and also critics, because the film in general had good reviews,
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but some that did not and at that time was very important film criticism.
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They all got together early in the morning to wait for the papers, and
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well there were some reviews that were bad. So that includes musicians who are
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still angry because they say the film is a liar and critics who still defend
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it. That is, in the filming that crack that generated the film at
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the time now returns to ferocious legend. Yeah, they totally persist. Then
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you exist thirty years later and what is the main sense of that breakdown,
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of that annoyance. Well, the original script was with the real names.
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There was Litonevia, there were people nom there were all Amoris and the main
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theme of the film was the raft. When Litto Nevia and the rest find
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out, they send a letter to a story in which they deny that they
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use that topic and several other topics and that they cannot name them. Then
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there' s Marcelo. I' m spoiling the documentary a little bit,
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but then, if you see it, the protagonists are telling it. Well,
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right, yeah, that what interests rescuing, not what makes Legend fierce
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with all this, well, we went to them, we went to Intenevia,
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we went to Peopo Lernu, we went to Javier Martínez, who just
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passed away this week. Yeah, well, we asked them why they didn
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' t want to give their songs, what they thought about the movie,
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why they' re so angry. We talked a little bit about how the
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raft was composed that is still a controversy there, if it' s a
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bit of whether it' s tanguito. It' s not quite clear and
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good, and we also asked Marcelo what happened to him with all this,
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and he told us that well, Luis delighted that they trusted him, but
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he also understood that he was making a film about the lives of some people
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who disagreed. So, well, he hangs out there with Aida Bornick and
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they rewrite the script and they pull out all the names and leave only Tanguito
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' s and they have to replace the raft. And that' s where
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love comes in It' s stronger. Then the film took a much more
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fictional path, it was given much more importance to the love story and not
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so much to the biographical. And well, and those things of no harm
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that for good doesn' t come Marcelo assures that it changed for the better
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and that the film was better. And well, it' s not a
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biography, it' s the legend of Tanguito. In other words, it
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has many elements of fiction and you chose to go along that path as well.
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That way from the legend. Yeah, we wanted to show you how.
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We wanted to show how the film was made. And this conflict was
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part of that process and we wanted to show it because we are personally interested
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in how films are made. Well, then this one had this problem.
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Then what we told and what we wanted to tell how it was resolved and
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who were the authors of love is stronger that they fell in the middle of
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chance and suddenly made a hit that everyone remembers to replace the raft. I
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mean, it' s a whole story that truth has a lot of elements.
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Well, a fundamental protagonist in that prima opera, and I guess this
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one isn' t Argentine and right now it' s in Buenos Aires.
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In addition, Manolaria refers to me and we were able to do it because
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Marcelo Piñeiro himself says that who ends up driving is true to make the film
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is Imanolarias. Yeah,' cause Manolaria was Susana' s show, and
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that' s where she counts. Yes, yes, we were able to
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interview him while he was in Spain, because well, we have, fortunately,
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acquaintances there who made us famous. So they' re here. Everyone,
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they' re all clear. And Manuel, because he' s acting
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right now. It is very close to where you are going to premiere,
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very close to the Goomón in the square. That' s why Friday can
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' t come. But he saw the movie and he' s seen it
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yet or and you must have your expectations. No, well, yeah,
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yeah, yeah, we want everyone to see it, but, well,
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I can' t come to the premiere now has a show, but you
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' ll see it now. Well, before they made floaters and everything that
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generated that movie and the fans is fine, very well reflected in floaters.
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Now ferocious legend what the next step is. There' s a next step.
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Not yet. There is no other film that is emblematic to you.
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Not yet, not yet. This time it didn' t come up so
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naturally, so we don' t know what has to have a movie fundamentally
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for you to decide to pose your eyes on that movie and, well,
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make a documentary, which is what attracts you most the popularity of the film.
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It seems to me that they have generated something that has been a before
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and after in some sense, that is, what happens with waiting for the
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float, does not happen with any other film that remains in force. Today
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there is a play in total success currents as something that does not happen with
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another film. And with tango, Feroz Capas was something more personal, more
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than to us it marked a lot that really was also hinged, because it
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was a huge movie for that moment and all that the success it had was
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a million, seven hundred thousand people and the album is the best sold after
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the love of Fito. I mean, it was very successful, it was
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a boom and what generated us was very important too, because, well,
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generationally, so now I don' t know we have to be interested in
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some personal point, I think first, but well, for now there'
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s no one already with legend. Feroz on screen and good projected in functions
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with public. What new senses did you discover as filmmakers, as well,
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as that as Tributing the film, but at the same time, reviewing the
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history of Argentine cinema, Yes, when we were doing it, we had
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no idea what was going to happen in this country. We weren' t
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imagining it, but I don' t think anyone at all. So now
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the film has taken on another completely sense because it has become, that is,
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it shows very reliably the importance of national cinema for the country, how
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a film people care about and continues to remember. There was a screening last
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year of Tango Feroz at the Gomon, a rainy Monday at night. It
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' s full, full that people stayed outside. Then how can you say
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that national cinema doesn' t matter to anyone? Then it became that sense.
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In the Buffisic in our film there is a plane of algomon and there
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was an ovation. The audience' s vacated a movie theater. Then it
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took another sense that cheers us a lot in the face of so much nightmare
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and so much sadness, because good is to show how Argentine cinema is so
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important. And it was also good that the actors came and the notes they
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did to him all said the same thing that Piñeiro said the same thing.
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So, well, it got a sense. That' s very different from
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what you thought and it' s almost an emblem of this time. I
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don' t mean ferocious legend. In addition, it shows that aspect of
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what you are saying, what Argentine cinema is worth and, besides, the
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time, that is, suddenly the nineties returned in the worst sense and there
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is a boy who comes out the boom and says to say everything, not
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buy, everything, is sold at that time. I don' t know
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what and I thought clear is the same thing that now, thirty years later,
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of course, then, well those things of this country so cyclical that
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it fell right now. Well we are then with the Ne suur Fet,
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who is the co- director of ferocious legend in the film that from tomorrow
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will be in theaters throughout the country and that on Friday at nineteen, thirty,
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nineteen, thirty will be premiered in the cinema Gomon, that is,
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the ferocious legend in a legendary room and well, it is worth approaching and
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seeing. Thank you very much. Thanks to you, we' re still
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on GPS audio- visual radio. It was good times we felt beautiful,
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great kids, but the passing of time is inevitable. They say you pushed
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the balcony into radiance. You son of a bitch cut it off because I
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' m taking it all. It' s too late for us. I
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don' t know where the fuck fly is like I forgot everything after I
19:04
was toasting and I just bought something, you say something turned me into a
19:15
jack. I can' t paint anymore. I have to ask you a
19:19
question. You want to know if she' s your daughter. I know
19:25
all my life. Morbdo' s dead. You did well the fuck out
19:30
of the other night. Hio ready, he fell alone and the troll you
19:33
left me in the trunk of the margos car was my friend. It'
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s the kill. This son with the tips of how the pieces fit.
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The fabulous is missing one. The last one I will be able to believe
19:55
n Vladimir, a film by Martin Rioni with Daniel Arados, Carlos Belloso,
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Marcelo Melingo and cast Vladimir premiered in Salas 11 April. We are with Mirtha
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Busnelli, a presence that has multiplied in recent times because of her leading role
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in the theatrical play that Bow Windows is not American, because of her participation
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in the star that I lost the first opera of light Orlando Brennan, because
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of the expected and still unprecedented practice of Martin Resman and also because of her
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explicit commitment in defense of cultural heritage and against the cuts that compromise the future
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of audiovisual activity. Thank you, Mirta, for joining us. I'
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m telling you, I had a little participation in a movie by Lucía Celes
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called the private school Alfonsina Stormi, which is the one that opened the Vaffisi
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festival. He goes to Fisi ah well, per Pasto does more publicity to
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the movie of Me Lucía very good. Another fact, then, another very
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welcome fact to good fact. That Windows bowl isn' t American. It
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addresses the link between mother and daughter and is defined by small nuances that generate
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a very particular climate of tension and suspense. What attracted you to the play.
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That' s what you say, that' s a weird story.
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Yeah, where you don' t know exactly what moves this woman. This
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mother, yes to say something, so that those who listen to us are
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a little closer to what we are saying. History is a story of an
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or. A mother who goes with her daughter to visit houses in a neighborhood
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of hers, for example, in a neighborhood, and then takes her for
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a walk and that is her walk to visit houses east at the time of
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the work, that visit has been crossed a limit. He never dared so
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much on his visit and the daughter has not noticed. She realized at that
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moment that the mother had had her for many years, that she had accompanied
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her, she had asked her to accompany her and they people who have wasted
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their time and without realizing that accompanying the mother to do that which was incomprehensible.
22:45
Yeah, so, it' s actually a mystery. We could say,
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on the one hand, that she is a woman with a great aesthetic
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sense that she doesn' t like if a thing is put in a way
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that she finds unsightly or flowers or furniture or whatever. On the other hand,
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that her husband left her and only left the key to the car and
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the car, of course, this over a pile of decorating magazines, which
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is obviously what interests her. And we could say that when there are houses,
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when you see a house that is beautiful, that has flowers, that
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has children, that has as a family thing medium, constituted and well,
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but those are all absolutely my imagination, because it is not in the film,
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in the work, in the story, it is not explained what is
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the attraction that it produces. That' s why he' s more captivating
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for the reader. Yeah, yeah, yeah, yeah, well, the
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viewer also there happens something that you don' t know if it' s
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this woman' s dream, a bond that' s broken with your daughter.
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Anyway, a whole series of really very catchy issues. Now the author
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is Samantha Scheblin, the director is Mariana Overstem and the actresses that accompany you
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Maria Berlino and Ivan. That nice thing exactly happens at this women' s
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meeting on a project, and I guess so. I guess so. I
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wouldn' t know how to describe what I could tell you was a lucky
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encounter, which we were very happy to work together, which was, like
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saying, very propitious for things to appear that we believed together, that we
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created together. And well, you could say yes, it' s a
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feminine world, but I don' t know if that' s implied,
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because we' re three women in whom we' re there or if it
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' s deliberate on the part of the writer, but it' s yes.
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Men are a very collateral presence, It is not true, you are
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very out of the field with this question that the work also plays which is
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the visual. No yes, exactly yes, you were going to say no
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as you say they are absent. I don' t know what word you
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used because he left and left. He left them, yes, and the
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other because he' s not in the house during the day. When they
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already arrive and well they have no contact with him, they arrive at a
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time that they are there, then they flee, that is the mother the
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icaa that are in that house, the one that got, yes, into
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that kind of intruders, is not in trusa Exactly now what does it mean
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to make theater? Particularly now what attracts you from the theatre as a means
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of expression in the theatre attracts me all because I like to act and I
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consider it to be something very alive where the audience is there with us.
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But in the face of disaster and discouragement and fear of the hell we'
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re living in, working in, I think it' s a blessing,
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yes, and doing what you like. So, at least I appreciate that
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this touched me at a time when I am meeting with people, doing what
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we like and expressing you also no yes, clear where it seems to express
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itself out as well. Be one outside the privilege of one person. Yeah,
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yeah, yeah, exactly good. Cinema also summons you and enhances you.
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You didn' t just mention that participation in Lucia Celes Bueno' s
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film premiered the star that I lost the opera light cousin Orlando Brenan is pending
27:55
Martin Rechmann' s film practice, by the way, I had a chance
28:02
to watch it in San Sebastián and I loved the film and I loved your
28:06
work that and it says terrible mome that you compose me. I loved the
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movie. I don' t think it' s a movie where it'
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s a recharged regman, where there' s nothing left over, but it
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' s the best thing about it, I think. Yeah. Yeah,
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yeah, yeah, how you feel you' re bringing in filmmakers from other
28:37
generations with new looks. That' s a good question. I don'
28:52
t know. I don' t know, I guess this first one that
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they, of course, call me because I' m an actress to be
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a character of a certain age, et cetera. Yes, but it is
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true that I have worked with directors in their first films as Agresti Bueno Martín
29:26
a theater as well and I do not know I love to be called such
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talented young people and because I like their films. And then I want to
29:40
be in your movies, of course, but I guess you like it as
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a job. Well, that' s already supposed to be, because that
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' s it. But there is a touch in Mirthabusnelli, which is also
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seen in the play, I do not say a certain irony, a very
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fine line between humor and tragedy in the characters that you compose. If you
30:10
will allow me this observation, but I think I do love your observation.
30:15
It' s a touch you give the characters very particular. Well, a
30:21
few days ago you put the body and the voice in a demonstration against the
30:26
cuts in the area of culture, at the door of the Gomont cinema.
30:32
Something you said, but how do you see the current panorama look. I
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know I couldn' t go to the hug that was given at the Inca
30:42
last Friday. Yes, because with the two premieres I had more the notes
30:48
I really had to make you have this week too all taken and it is
30:53
difficult for me, but I know that they sent an infinite membership of collectives
31:03
and institutions and unions that I don' t know if there is any novelty
31:12
to what is already done, which is to fly areas like, for example,
31:19
the area of promotion. We already know that it is happening, that
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it is precisely the area that gives subsidies and that allows it to be festivals,
31:29
that the provinces also exist an Inca or something representative of the institute,
31:37
that also exists the aener that is the school of cinema, that also supports
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the institute. Then they threw out a lot of people, which is a
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bleak panorama. I don' t know how it' s gonna happen next
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year. Now. In the buffisi that fortunately was made, there were countless
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Argentine films. Yeah, well, I' m sorry, but I'
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m sorry. I don' t remember when they told me. But next
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year if they can' t film people who don' t have resources,
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because this movie is an independent movie. But with the support of the Inca,
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I don' t know, there won' t be any movies.
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It' s a bit like it happens in all areas, in education,
32:36
in science, in universities, in prepaid, in food. What I do
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not understand is why a person so unbalanced and where one does not find a
32:54
single measure to take, that is for the good of the people of the
33:00
people who live in this country. How can that person be doing or getting
33:07
an approval in the Senate or in deputies, not in deputy. It was
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the other day now ten senators, when the same thing the same deputies,
33:21
in their speeches, said that the measures taken by this government were barbaric.
33:25
How can that person be able to handle the fate of this country because we
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see ourselves saying good, but there are capitals and behind and so on and
33:38
so forth. Yeah, well, he' s here saying barbarities, because
33:44
he could be a person who lies to us in another way, in a
33:49
more misleading way. No, I mean, it' s gross. I
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mean, it' s so gross. What you gave is what it does.
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No one can believe that. That' s what I think, they
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say yes, but half a country voted for it. Half a country voted
34:10
for it. But and now there must have been, I don' t
34:15
know how much, but it must have added a lot of people who are
34:22
desolate, who are all of us. What happens is that there are people
34:23
who have greater needs, more, yes, more emergencies, no more emergencies
34:30
exactly and where the silver is than with which it is fair with which it
34:37
comes from adjustment. It' s where we know where he' s going,
34:42
what he' s supporting, because he' s pulling it out of
34:46
all sides so that for debt and nothing else, there' s nothing left.
34:47
What' s going to happen to the people who throw him a thousand
34:52
people, five hundred people from all over the country and from state agencies.
34:57
How can that happen when you know that even working well, a bridge falls
35:01
as it did Brazil, now it is still working well, what happens when
35:10
people are not going to be or maybe, they replace it by when it
35:14
is obvious that all that was not Nyokis, it is obvious and besides,
35:19
when they can do an audit and maybe there will surely be people who are
35:25
using the State, but it is perfectly identifiable in that case. Sure,
35:36
dads, they wouldn' t do it that fast because they' d have
35:39
to do a study. Then it is very crude, in addition to being
35:47
very vulgar the way of talking about the President. Yeah, well, I
35:55
don' t know what else to really scrub, yeah, what to do,
36:00
I don' t know. I don' t have, like you
36:05
and many others, I don' t have the way out for this I
36:09
can' t think of it. What can happen yesterday at the closing of
36:15
the Women' s Festival and cinema. What was agreed is that well,
36:20
we have to keep doing it. Exactly, keep doing and the active people
36:28
exactly keep moving and in community let us remember then Mirta, which is what
36:37
you are doing now, among many other things, is that Bow Windows is
36:43
not American, which is presented on Fridays and Saturdays, on Saturdays and Sundays
36:51
in the Dumont Room forty forty and there you are accompanied by Maria Merlino and
36:59
Van that Jaja. Mariana Oversters ran it. Saturdays are at twenty hours and
37:05
Sundays at eighteen. Well, give the invitation then to enjoy window this bowl
37:15
window, which is magnificent, really a thousand Stagmus Denly, thank you so
37:20
much for joining us. On the contrary, it' s a pleasure to
37:24
send you a huge hug. You too, Chao, thank you. Thank
37:31
you, have Femi. You have to believe me desperate. Give yourselves up,
38:13
take care of medicine, science. Those are superstitions, get me destroyed.
38:34
Make me my immortal, El Santo, a film by Agustín Carbonere,
38:51
award for the best film in the international competition of the Baffisi. The Holy
38:57
premiere only in halls. Diana Frey has just received a tribute award at the
39:13
recently concluded Women and Film Festival, which also revealed a secret kept for two
39:21
decades, a short film directed by her. We are with our dear Diana
39:30
Frey, who from now on, in addition to being a producer and production
39:36
director, is also a director. Well, Diana, it' s such
39:43
a pleasure to have you here on GPS audio- visual radio how you are.
39:46
Well, first of all, thank you for the invitation and presentation and
39:53
I' m still very excited about the screening, because it was an aspect
39:59
of my personality or my profession that I hadn' t shown as publicly as
40:04
this Saturday. Well, you had almost thirty years of career in the film
40:07
industry when you decided to face this short film, heaven and earth over the
40:15
figure of Anne Mary this Kelman. No, it' s not what prompted
40:19
you to make this short film. Well, my husband and Fernando are still
40:27
close friends with Ana Maria Teckerman. Very admirers of his work and I,
40:35
well, we were like enchanted, fascinated, magnetized, because I think that
40:40
' s the word of the work of the weed. When you see it
40:44
' s like a magnetic effect. What' s more, you don'
40:49
t realize that it' s like you have a weird feeling, you don
40:54
' t realize you' re seeing something. You' re like enchanted,
40:55
it' s an enchantment the words that and it produces you as an enchantment.
41:00
You don' t know how it solves the entrances and exits of the
41:04
dancers on the scene or to say, but how I didn' t realize
41:07
that they came in, that they came out, that' s how it
41:08
' s maximum. It' s one thing, a very good effect,
41:12
as we admired it so much. Answering your question, we decided to make
41:17
an I was going to be a longer documentary. It was going to be
41:21
a documentary to present. Well, in fact, I introduced her in the
41:24
sixty- minute Inca and then, for that, I made a twelve-
41:32
minute demo so I could show people that I was going to do the evaluation
41:37
in the Inca of what I wanted to do, because I could presume that
41:44
they didn' t know who the character is and the importance of the character
41:51
at an artistic level in Argentina and this one, and well I did and
41:55
I introduced it to the Inca, they approved me and I didn' t.
41:55
I did not finish signing it, because I started to know of production
42:00
that I made in that decade amount of service, of production that is to
42:07
make the film, that came from Italy or the United States or from different
42:10
places, great productions, great ones that you Santhony Hopkins, for example.
42:15
So Bas made the movie for him. They brought his cast and his book
42:21
and his script all and we gave him the service. That took me ten
42:25
years. Then I didn' t pick it up later. No, no,
42:30
I couldn' t take it back. It was there as an exact
42:34
short film. It was as I showed it with a short film, the
42:37
sky and the earth. Now, twenty years later, it comes to light
42:44
and I think it doesn' t appear in your biographies, not even in
42:47
fact, in intermovi database. It' s not a figure. Yeah,
42:52
well, that' s Diana Frey' s best- kept secret. Yeah,
42:54
it must be, like I always told him some people and some friendly
42:59
people that perfil low, that you look. What happened is that in the
43:02
I am the executive producer of the Film Festival of the Highs, the one
43:07
that is made jujuy yes, in the month of April from three to fifteen
43:13
we did the festival. I' m talking about something very recent. Yes,
43:16
now, yes, yes, yes, then we invited three girls,
43:22
Ana Maria Murshik, our dear friend, what' s her name Rina Sarila
43:32
Fargi, and then this one and we didn' t invite them and we
43:39
started chatting at those breakfasts of others of them came to show her film about
43:45
the woman and cinema forgiveness. I' m not misexplaining myself. Those are
43:47
the ones responsible for the festival, the woman the cinema. Yes, then
43:52
we invite you because we present the film, which is a collage of all
43:58
two minutes each director of the films that they sponsored and promote and well we
44:06
invite you to the festival. They came and we had long breakfasts in the
44:09
hotel, very long with the delicacies of the hotel salunando a full and they
44:20
told me. They started telling me about the festival that I was missing,
44:23
because it' s not that I knew that there was more Querreo to remember
44:30
that when the bomb exploded, I think of the amia, I was watching
44:36
a movie in a movie in the street, in front of Sadaic and it
44:42
was the Women' s Festival in the cinema. But then I' m
44:43
not completely vincinated. No, no, no, I followed them. Then
44:50
there he chatted and they told them that I had done there I told them
44:53
that I had made a short snap. I dropped the file. You saw
44:57
those things that I tell you and I made a short that I wanted pop
45:01
I say that maybe you can spend the whole festival and we totally spent it.
45:07
So, yes, yes, show us the short and we can put
45:10
it in at some point in the programming and so it was a completely casual
45:17
thing and because they were there it was the first exhibition in that of your
45:24
prima opera, as now, as director, speaks of my prima opera.
45:28
But well, it was very exciting because there were all the personalities of the
45:35
modern spear from Argentina, the most important or Canada. If there was Mauricio
45:38
biin Rotte, there was Margarita Valli, what I know everything, apart from
45:44
the dancers that some, as they are already very old, after so many
45:47
years I did not recognize them, but there were also figures of what was
45:52
the heart of modern dance of Argentina twenty years ago. This projection was in
45:55
Malva in the evil, within the framework of the FEO, in the framework
46:00
of the Festival of Women and Cinema. Well, and I must say I
46:04
had the privilege of participating there in this function, of witnessing the function invited
46:13
by you very generously. And I must say, it was surprising because I
46:22
said which director. We lost Diana Frey a whole revelation, because well,
46:27
your work, your long career as a producer, as an executive producer,
46:34
as a promoter of others and other filmmakers, is well known art. But
46:40
this facet of you standing behind a camera and making a documentary and also about
46:45
dance was really amazing. In addition to technical quality. It looks like it
46:55
was made not two decades ago, but two days ago your short film.
47:00
How was that artistic technical approach? When you decided to face the short film,
47:08
what did you think Mira, I have two characteristics as qualities. Let
47:16
' s say one that production, because I came from an economic science source
47:22
and got it into the race and had like a sort of had a let
47:29
' s say a practice of how a small business is run. Then I
47:32
had as what to contribute to the production of a film. No. And
47:37
the other characteristic, which was my great vocation, which was, was my
47:40
great vocation, was photography. I had gifts for the look. Don'
47:49
t ask me why I have to tell you what I' m saying.
47:52
No. I don' t think I cut off what I don' t
47:57
want to sound like a brag. But that' s how I know I
47:59
have a look, because I think I told you something when you refueled me
48:02
with a chance. An amazing thing happened to me, for example. That
48:07
' s where I' m going to go through the branches of your question,
48:13
but to give you a framework, I, when I started studying,
48:15
when I quit studying economics, I said well, I was embarrassed to study
48:22
cinema, because I wanted to study cinema. Yes, I say what I
48:22
say, I' m going to economic consciences, I' m going to
48:27
look at how I felt complicated by my origin. I had no idea myself.
48:31
The point is, I said I' m not going to start with
48:35
photography, and from there I' m going to go to a film school.
48:37
Then I' ll sign up. At photography school, they tell me
48:38
first exercise, they' re going to go to the street wherever they want
48:44
and arm through photography. A photonovela a story. I mean, photonovela,
48:51
because it' s the best- known expression in a story. Then I
48:54
knew it existed in the cultural center, now it is the rich plurar center.
49:00
A place existed next to the cemetery of Recoleta and next to the Church,
49:07
a nursing home called Mia Monte. And I knew that there was that
49:13
and I was very impressed that it existed attached to a cemetery. It was
49:17
like some sort of fate that they weren' t going to go to the
49:22
recoleta, but metaphorically they were putting the old men next to a cemetery.
49:25
Then this one went out when I took those pictures, which I was very
49:30
funny, because when I wanted to get in they left it to me.
49:32
Mos were nuns. They told me you don' t have to be a
49:36
relative to get in. Well, I' m going to Recoleta Cemetery.
49:37
I started taking pictures thinking I don' t know photos of monuments to see
49:43
what I was going to do. And a boy who was re- buried.
49:45
He told me what you' re doing. I' ll explain,
49:47
he says no. I corrod them with the nuns. We' re gonna
49:51
go in there, I' m gonna go in, but I hid the
49:53
camera and went in with him by the arm. But walking the little nun,
49:55
what, just as you' re doing well, I went in with
49:59
him, hiding in and out. I did a survey of everything, not
50:04
just the architecture, the people, which was a shocking thing, shocking because
50:08
the women were dressed as if they were European peasants of nineteen hundred and fifteen,
50:15
just like the clothes. Eh and well there were all the collectivities they
50:20
gave you if they had the Japanese or Koreans. I don' t know
50:22
what they were, but at that time they were more Japanese. I'
50:24
m sure I took those Corte Corte photos, so to speak. That was
50:30
in court to Corte. That' s a thousand nine hundred sixty- nine.
50:36
No yes, a thousand nine hundred and ninety- nine, precisely with
50:39
Ana María Este that the man there coincide in the character. She tells me
50:45
why we don' t take him to what is today the home of Elder,
50:50
which is the cultural center of Coleta. Okay, let' s go.
50:52
You accompany me, she, you accompany me as a producer of mine
50:59
and we get there. Lus one was closed, but they let us through
51:00
anyway. And when I show them the pictures, I tell them. This
51:05
is another parenthesis. The photos were of paper ten by twelve, a hell
51:10
of a goal. But in the 1990s I was in the 1990s, they
51:14
were digitalizing, they had invented this technological possibility of digitizing. I had digitized
51:21
and expanded them. I' m on, yeah, yeah, it is.
51:27
We' re in time, I' ve played no good, well,
51:30
then synthetically it' s the ones I took me when they saw them
51:35
pass out. There was nothing, there was no such document. They gave
51:38
me the best satimonies, the best salon. With the exhibition I was paid
51:44
the enlargements and those in the picture. And, well, then I tell
51:49
you it was my first I was told to go out on the street,
51:52
take pictures. I want to tell you the look is very important and well
51:57
that was. Let' s say it is. He responded a little bit
52:00
by answering with a lot out there, telling me by the branches, as
52:05
I knew he had that look at that time. When I said about Ana,
52:08
let' s not do something, because this is genius. This is
52:12
what you have to make a movie about her. And that' s how
52:16
I started siesta this short. So now that look and in this tribute How
52:23
did it fall to you? How you like a good tribute. It'
52:30
s always a very big source of pride to be told that you want to
52:34
honor me, because never, ever, never, ever handled me, and
52:37
I have fifty years of activity. So I was very happy and very happy
52:40
and the girls are very loving and the truth is good. I thank you
52:46
very much for making that touch of my soul. No, yes, and
52:52
there' s some other project. There was some other project to put you
52:58
behind the cameras. No. No, no, no, not at the
53:04
moment, although as a result of this they told me why not. No,
53:07
I don' t want to, but not related to dance. Don
53:12
' t let this one go, too. I don' t know that
53:16
for now I' m letting this happen on Saturday. Yeah, we'
53:20
re less than a week away. Then I have to let him settle down
53:24
a little bit. I am happy, happy that people enjoyed the screening and
53:31
well, yes there were personalities so important that they liked that for me it
53:36
was like an endorsement, personalities as important as the author of that short film,
53:43
like Diana Frey, producer and director honored by the woman and the cinema
53:51
for this beautiful and good short, a question, the last short on the
54:00
edge of the micro if you want, after so much trajectory and this debut
54:09
as director, how you see the panorama of Argentine cinema at this moment.
54:14
Diana looks really bad. I see it because let' s say there'
54:22
s bad. I see it because there' s no concern. First,
54:23
that film and high school seem to have been declared public enemies. Number one
54:30
of society and it' s a nonsense supinon. I think they' re
54:34
very uneducated people. It has no preparation beyond that the institute had many flaws.
54:39
There are many things to fix and to correct, I do not defend
54:45
blindly. That' s what I' m critical of, but that'
54:47
s where you do what you did, which is practically cut him, shut
54:53
the doors, and watch how many movies you can make. No, there
54:55
' s no film policy. You say well, we can' t make
55:00
sixty or seventy or a hundred because there' s not even a place to
55:05
spend them anymore or days. Yeah, that' s the truth. But
55:07
we can think of this change of era, which are enormous technologically and of
55:15
distribution, to see what can be done, not to cut and close the
55:17
doors, because it was the gross thing is to grab one thing with an
55:23
axe or with a stick and hit and break to raze with everything. That
55:28
' s not a system. It seems to me that people who have to
55:32
learn to read, to read no more to cultivate themselves are gross. As
55:37
brute people, then their project can be nothing more than brutality. Well,
55:45
we are then with Diana Frey, a historical producer of Argentine cinema, who
55:52
has just given us a strong definition and she says that, among many other
55:59
great productions, she has done nothing more and nothing less than waiting for the
56:05
float a classic of Argentine cinema that today even has a theatrical version. We
56:09
are saying goodbye then with the dearest Diana Frey, a pride that you are
56:16
here, that you have gone through audiovisual GPS, radio, then we fired
56:22
them until next week in another new broadcast of audiovisual GPS radio. Don'
56:28
t leave because it' s a bad night and remember, as we always
56:36
say, but today more than ever you see Argentine cinema. We, from
56:39
Acá, will continue to defend what we consider to be ours, one of
56:47
our great bulwarks, national cinema until next week. Thank you so much for
56:52
joining us. Thank you This was GPS audio- visual radio. We'
57:15
ll be waiting for you next Wednesday at 19 o' clock by radio thirty
57:21
- three capitu