Latest / GPS Audiovisual / GPS Audiovisual T05 P31 -ENTREVISTAS AUGUSTO SINAY, CARMEN GUARINI, LISANDRO ALONSO, DIEGO LERMAN

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GPS Audiovisual T05 P31 -ENTREVISTAS AUGUSTO SINAY, CARMEN GUARINI, LISANDRO ALONSO, DIEGO LERMAN · GPS Audiovisual

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GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, a treasure, a program with a gender
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perspective that nucleates the country' s film industry. Argentine cinema will never be
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the one it is until now. We, from GPS Audiovisual, continue to
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bet, believing in culture as the fundamental pillar of a society, a culture
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that is plural, free, accessible, diverse and has State resources for its
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development. Welcome to GPS audiovisual Radio, with the journalistic production of Norberto chap
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En, the Gonzalo Sorais controls, in the artistic direction Jessica Bernardu and in
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the driving Who speaks Julia Montesoro. Carmen Guarini is the Director General of the
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24th Buenos Aires International Film Show, the famous Doc Buenos Aires, which will
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take place from 20 to 25 August. We started this radio audio- visual
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GPS broadcast with Carmen. Thank you so much for joining us. How are
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you? All right, all right, Julia, thanks to you for this
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good call how a show is organized in front of such an adverse context as
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the one that goes through cinema and culture in general right now. Well,
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we' re still wondering what it' s like to be able to do.
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Actually, we don' t have any financial support from the National Film
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Institute this year. I must say, I didn' t get it from
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last year either. Although it was agreed, I didn' t get to
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collect it and change management, I couldn' t do, let' s
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say recover the funds already invested, so actually, like last year, we
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' re going to do it only with the money of the patron and with
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a small fund of aid from institutions we received, which is very small,
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too and then well, with the goodwill of the team and really works a
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lot. This is a festival that is actually done out of love, out
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of affection, out of love for cinema and let' s say and a
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little bit for the continuity of a tradition in a cinema that we believe,
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so it seems to us that it is a space to follow, we have
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to keep betting. That' s exactly right now. The call was affected.
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Less documentaries were registered this year. Precisely because of this situation. There
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' s a confusion about that. The Dos Buenos Aires is not an open
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festival. We do healing just because it' s a non- competitive festival.
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So, in the first ten years, we' d have more or
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less called, but it was a much bigger team, with other funds,
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and so on. From a certain point on, we decided to simply select
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what we liked. Then it works that way. I get a few movies
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to mill, and a lot more to Roger. Besides, Roger, he
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' s a programmer for many other international festivals, so he has access to
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a lot of material. And, in addition, we made a decision this
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year, which is also a political decision, which is to give in ninety
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percent Argentine cinema, so the program is practically Argentine cinema. There are four
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or five exceptions that are films that are of very important directors, such as
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Radio Jude as Yani Kani Kiluki, Well and two or three more, but
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the program is already telling you with local directors, which directors, of course,
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also very renowned. Many have already gone through other editions of the doc
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Buenos Aires and we are very, very happy with the programming, but well
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it has also to do with a decision to give it screens at this moment
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when screens are scarce, that the Argentine cinema supports it, yes, exactly
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then well, we want to also install a certain debate around the topic how
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we will continue that in such a context of so much crisis, not exactly
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good. Among all these titles, in the advances that have been known so
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far of programming, there is already the opening film of the Dos Buenos Aires,
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which is going to be any civilization document of Tatiana Mazú González. What
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you found in that movie and what allegories you found with the conjuncture we went
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through. Well, it' s very straightforward, but we have to say
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that Tatiana already had a retrospective focus, a tribute two years ago. I
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believe in Dos Buenos Aires, which, despite being a very young director,
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already has a very important work, especially because of the depth of her gaze.
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No and this film, for example, has just won the grand or
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the Marseille Festival, so it comes with all the merits and all the expectation,
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while raising a Tatiana film. It seems to me that it is a
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film that we say has a search where she always works in the formal and
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the conceptual, in a way that is directly linked to the political. Or
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that seems very, very important, but not a party policy thing, but
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political, a social or social look. I wouldn' t call it social,
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it' s a thoughtful look. I' d even say philosophical.
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Let' s say what happens in the world today, in this world.
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Capital is today, in this world in crisis. If they were to refer,
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of course, to specific issues relating to social conflicts and, above all,
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to the issue of young people killed by the police. It' s
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not the single axis of work. So, they' re jobs, plus
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they' re hard to synthesize. In a synopsis. I can' t
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tell you the movie is about because it' s always an open look.
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So what' s interesting is that you enjoy being able to get into your
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thinking and your logic and photography, which is wonderful from the movie. So,
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well, nothing. We just think it' s an excellent start,
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plus a female director. No, yeah, yeah, okay. It was
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also anticipated that there will be a tribute to Edgardo Kosarinski. What is Edgardo
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Kosariski' s legacy in Dos Buenos Aires and in Argentine cinema, in particular
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Mira. I think it' s just that he' s left a deep
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mark on many filmmakers who met him since the late 1990s. If the first
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time I met him in Kosanskil in the year ninety- nine in Paris,
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because he had just contacted Marcelo Cespedes, who already knew him. I don
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' t know if she' d seen her movie or reference. We went
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to see him and there he asked why not take a retrospective of his work
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in Buenos Aires. He' s never done it before. So it was
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really interesting. The films were brought in, but the films were passed in
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the buffici Then after we made, we passed some of his films less seen
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in successive dogs Buenos Aires. But it was very interesting because after that it
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began to say, let' s say the public, the Argentine public,
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the film- making audience, above all, began to discover this filmmaker who
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called him a secret filmmaker. It was very interesting and, besides, well,
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then he created himself already living here in Argentina. A very direct link.
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However, many young directors and directors who immediately adopted him. Not if
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you listen to me. Well, we are in communication with Carmen Guarini,
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who is the general director of the Dog Buenos Aires, whose twenty- fourth
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edition is to be held from 20 to 25 August. Carmen is then telling
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us how this edition of the Dos Buenos Aires will be. And speaking also
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of very representative characters, very dear, very significant, as is the case
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of Edgardo Cosarisk, the recently deceased filmmaker and writer, who well left a
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mark on a whole generation of young directors and directors with whom he worked or
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who approached his work. We follow in audiovisual GPS, radio, missions or
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missions a movie destination bet on growth, doing little in the future and nature,
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diversity and professional passion. Industry end one place all the stories. The
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team filmed on mission from tomorrow Thursday, first in theaters of the country and
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from Saturday three in the cinema Arte Cacodelfia of Buenos Aires, the fantastic drama
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of terror premieres. The effort is the prima opera of the screenwriter and director
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Augusto Sinai, with production of Fogon. Cinema is inspired by Leopoldo Lugones'
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s homonymous story and is the result of an exhaustive historical research work by director
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Augusto Sinai, with whom we are now on GPS audiovisual radio. How do
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you like it, welcome back Hi, how are you? Thank you very
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much for the invitation. It' s a pleasure and a pride to be
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here at JPS audiovisual. Okay. Thank you very much and it is a
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pleasure for us to have you too. Well, the sting proposes a journey
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of its protagonist with elements of fantastic cinema, gauchesco western and terror. What
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a trip you set out to make when you told this movie. Well look
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at me are genres that I like a lot, terror, the fantastic and
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I also really like the history of Argentina. So I started the trip to
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make this movie with those two elements. As a trigger seed. Starting from
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a film inspired by a story by Leopoldo Lugones, I began to adapt a
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two- page story. It is quite brief, which supposes that adaptation is
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quite loose or free as one more inspiration, one adaptation yes and then my
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idea, my journey, as we said to adapt them. It was that
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starting from the elements that I liked that are the cinema, genre, the
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Argentine history, inspired by an Argentine tale, starting from all those elements to
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create the journey of a young gaucho who throughout the whole film, in addition
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to all the layers that has the film of the metaphor of the war,
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of the war and all that is also a walking okage, that is to
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say, the protagonist grow in adult throughout all this delirium that little by little,
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what seems to be a Costumbrist, is going to be forming in a
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delusion before the journey of the film. And it really was, as I
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said right in the question, it was a trip to make the movie.
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I mean, it was a seven- year trip to write the script to
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adapt the story. The historical research you mentioned at first was really a good
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trip. You looked for references in 19th century literature from just a story by
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Leopoldo Lugones In a research work that, by the way, is rare in
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Argentine cinema. It' s your idea to start as a director. It
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was from that story, or there were others going around and they were discarded
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Mira. I studied at Lenerc Then I came up with the idea of being
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a director. I studied kintographic direction in energy, so my course was quite
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defined. What I do astro cinema is what I always dreamed, what I
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love most and particularly decide to adapt this story. It was a lot of
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things. On the one hand, as I mentioned, my love for genre
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cinema and, on the other hand, of beginning to realize that we in
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Argentina have a great tradition of fantastic literature. That' s the truth that
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motivated me a lot and particularly good lugones I found in this book called The
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Strange Forces. The truth is that many ideas and, as I told you
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before, also my love for history. So well as deciding that this is
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my first film as a director, it has to do with all that and
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also something I say in another range of things. I wanted to do something
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ambitious, not come out a little bit. I' m from Cordoba.
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I spent almost every summer of my childhood inside. Then I have as in
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contact with landscapes and with nature, and all that I have very rooted and
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even though I love Buenos Aires, I loved to study in energy I understand
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that my first film has much more to do with these other landscapes than with
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a great good city paved with landscapes. So is the back. The saw
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is not an impressive place now for the leading role. The character who makes
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that trip between the mountains, between the violent the hallucinatory you chose an actor
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with no experience, a non- actor. You could say with the face
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of a man without age what the job consisted of and what led you to
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take the risk of trusting him Mira, that is, Cristóbal, who is
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a great equal actor. He' s not what, he' s not
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a non- actor, but he had studied theater, he came from making
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a play when he was a kid. I' m saying what I didn
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' t have to do was make so much film, but he' s
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really passionate about acting. For me, the movie needed someone who likes acting.
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I needed someone who is passionate about acting, because the character makes a
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very resounding journey, from a type of personality to something totally different, changed
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and affected by all the other characters that is on the way, and there
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are scenes in which in a minute of scene he has to move from one
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mood to another filmed in a rather hostile natural landscape, with a period costume.
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There were a lot of elements that had the movie that took me to
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the 18th. I need the protagonist to do it to someone who really likes
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the performance, who has been tanned in that role because it seemed to me
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that working with non- actors or as they tell them in Spain, that
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I like more that they call them natural actors. It was very difficult out
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there for the short time we had to shoot, as I was saying,
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the first very ambitious film that we wanted to film. I don' t
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know thirty plans a day, for example, to make the montage that I
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imagined in my storyborg These I say I need it to be someone who adds
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this madness and the truth that Cristóbal is an actazo I say not only that
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he added this madness, that he had the tools to do it and I
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think for me he has a very promising future And they' re going to
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see in the film that in very few words transmits mountains as with concepts,
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with the look how it relates to every one of the loquísi characters that find
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the whole film. The work of Christ is truly incredible and, in addition,
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he is a protagonist. It is not a very, very big responsibility
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to make a prima opera, also from now on, a protagonist forgiveness with
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all the lyrics, because I say, the whole film is a journey of
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him. Only that point of view, exactly follows the journey through its course.
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Totally now the effort speaks of a legend, a rural superstition. In
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your research you discovered whether that legend really existed in real life or whether it
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was a narrative resource of Leopoldo Lugones and that you then served in quotation marks
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to transform it into this story. Look at that In my research we never
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managed to know if the legend that lugones raises in the story, which is
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very specific, is who kills an effort and you don' t learn fire
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the remains, the animal is going to resurrect to get revenge. I have
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the theory because we ask it many times we try to trace. That.
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For me it' s something that invented rules from their own places, that
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also a little grace and what the story has. But yes, for example,
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we talked to a specialist of stings who has a thesis with Elset about
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efforts in Argentina and told us that it is normal that a lot of legends
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are created around this animal, because it is a very mysterious animal, an
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animal that is a kind of toad but that has teeth that does not eat
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bugs, but that eats animals, and that most of the year is underground.
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So all this research and talking to this specialist, it served me too
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to give him an imaginary throughout the film. In the movie, he'
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s a monster, he' s strutá, trying slowly, I mean,
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with fragments, with shadows. Yes, yes, exactly, yes, yes.
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Well, the movie also has a great period recreation job. Not because
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it is located in one thousand eight hundred sixty- six, because initially you
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thought of it in black and white. Precisely because of this aspect. Yeah,
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at first I started thinking about the movie in black and white. And
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it was during the competition against Leizer' s Raimundo that we won, Leyzer
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' s raymul contest, which was in the ink. Now, unfortunately,
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he' s following us more. It was a fascinating contest to develop projects.
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That' s when, speaking to the tutors, especially tutor Eduardo Rasco,
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who is a great director of our purposes, he began to ask me
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well, why black and white, and I said good because I imagined the
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time more, because of the photographs of the time. And then with Eduardo
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we began to see that the paintings of the time, the watercolors, the
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gooseberries and everything really painted during that time told us a lot of the colors
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and textures of that time. Then, then, with the director of photography,
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we worked on making the color film and being able to carry those paintings.
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Do a little bit that our House has a little bit of that.
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So we work with textures forward the lens to make the girls not so defined
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the digital lines. It was a great photography work by Martin inherited the truth,
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also photography from the beginning of the project, you said a moment ago,
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seven years ago, until its premiere, it evolved and took shape,
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as it happens with the projects. Not what you see now with the film
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finished, that you didn' t see at the beginning of the road.
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What did you learn on this journey that metaphorically is the same journey as the
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protagonist. Well, I learned that you can do something ambitious because, in
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fact, when I started writing the project, contrary to what is often done
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in our cinema, which is to write something and go cutting it by budget,
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I started writing something rather shy guy in quotes and throughout the writing process
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and workshops and with a workshop with my great teacher, Christian Bernard, we
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also went like making the project grow and I sometimes wondered we' re going
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to be able to do this delusion, we' re going to make this
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monster, this end and Christ. He told me about it later, you
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figured it out. First I thought about the story and the reality is that
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the story was so powerful and the people on the team got so excited about
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making this kind of movie that we made it. So I think that with
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a great learning that can be done, we can do what we want today,
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because of the amount of technical equipment that we have in Cordoba, in
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Argentina. I mean working, I did, as I told you before,
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I did a storyboard of the whole movie. So I think that my great
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learning was that you can aim to do something ambitious and something unique, because
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also that it is not framed in a particular place, but that it is
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a very unique movie and nothing a nice learning. In short, despite everything
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costly, it costs in economic terms from now on, but also in terms
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of bringing that exact project to fruition. It is not a minor fact in
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a primal opera, of course it is not much less so. So,
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well, Augusto Sinai, director, screenwriter and producer of the effort, congratulations
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on getting to this port. Thank you very much for joining us and well
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let us remember then that from tomorrow it is presented in theaters of Argentina and
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from Saturday three in the cinema art Cacodelfia of Buenos Aires. We will be
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accompanying this premiere qualified by someone you just mentioned, filmmaker and producer Christian Bernard,
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as a masterpiece and surely one of the great titles of the season.
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Thank you so much. I' ll send you a hug. Thank you
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so much. Thank you very much, we' re still on GPS audio
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- visual radio. Residents registered under the category of vagrants and incorrigible. I
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know that they will be made available to the Government as a will. It
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' s just that if you' ve heard a chip effort from him and
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for blood, you' re really afraid of this Kanaike Tillan bug. You
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' re not old enough to volunteer, you' re old enough. You
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also know what you do with deserters, everything that touches your masters corpses and
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the world will be late. You' re fine as friend I or effort.
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A film by Augusto Sinai, awarded in Spain, Mexico and Brazil from
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the one of August exclusively in theaters to obtain a grant from the Wared Cinema
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Fan of the Berlin Ale for its project La Libertad doble to almost a quarter
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of a century of its opera prima la Libertad. We' re with Lisandro
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Alonso. Thank you so much for joining us here on GPS audio- visual
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radio. Welcome, how are you Hello or what, Julia, all right,
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listen well, we listen well and we look good. So, well,
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exactly what this grant consists of and to what extent it contributes to the
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realization of the project Lisandro Mira is a film that I wrote with Méndez a
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little while ago and I started looking for funding, as I usually do with
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the kind of films that I produced from Argentina in Europe, and well,
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you present the script and see what kind of endorsements you can get. They
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are usually naval in I don' t know, France, in Germany,
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in Spain, where the project finds boyfriend or girlfriend in some way. More
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than anything, it is a value for more than a money in euros.
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It is more than anything a European voucher that makes other zavals, other institutions
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also enter into co- production of the film and arouse interest, that is,
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it is like a link to the search for partners to realize the project.
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In short, yes, in fact, he is already an acquired partner
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because to receive international funds you have to have a local producer. Then I
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have to associate with another German producer in order to access that benefit. And
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what a job. Yeah, what' s double freedom about? I tell
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you what the origin of the project is and how it has, how much
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saga it has from your first film. It' s a good question that
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Julia or I' m still not clear, but I can answer you.
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I would like to take pleasure in working again with Isael Saavedra, who is
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the archer with whom I worked in my first release film about twenty- five
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years ago, in the same place where I filmed it, with the same
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technical equipment that I filmed it and with the same production structure that was filmed
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by eight technicians, ten days of filming, fifty- four cans of material,
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thirty- five millimetre elbow and a very, very, very small budget.
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Then he was buying in other films a little bit of budget perhaps higher.
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But the idea is to give me the last movie I made, which
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maybe was the biggest one I ever made. He had five international producers and
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he had a budget the biggest, perhaps even of all my films together,
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and it was like a half tedious for me because of the filming conditions and
31:56
by different factors. Then I decided to give me the satisfaction of enjoying a
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shoot again in some way and to join the people I want to film with.
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In Argentina, the province of La Pampa In fact, I am here
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now in the field where I filmed that film and we had planned to sign
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it perhaps by the end of the year. If everything goes on more or
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less well, yes, I mean, the project is on course, let
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' s say and look at me usually once I start a project until I
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finish it, I find it hard to leave on the boat, so I
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figure I' m going to do it, because this one especially gives me
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a lot of satisfaction. It gives me the strange thing as much as I
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speak everyday. Or I change message with my Isael, the protagonist. I
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would like to resign with him, give him a hug and give him the
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excuse to re- sign this freedom two, if you want, after thirty
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years, with some factors that have changed both in his life and in mine
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as in the world in Argentina that we live and I would also like to
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involve that a little bit and talk a little bit also in the situation that
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we live today in Argentina, that Misael let us say the character of Nisal
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does not change so much. But, there are other factors that are going
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to appear in this second part of the film that concern other moments in the
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adult life of each of the people that appear in the film, perhaps more
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the social aspect, if you want history or the environment, yes, more
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personal relationships of it. How to face and take charge of other demands that
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add the freedom that he had as a young man and how to take care
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of loved ones, how to see if they have the tools to carry out
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that task? See if the state helps you carry out that task and how
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to deal with that thing that came over you. No. This is a
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year, I understand myself special to you. Meanwhile, last March a retrospective
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of your work was held for the first time in Argentina. What meaning does
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that have for you And to me it caused an enormous pleasure because they have
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made me say without sinning arrogantly, they have made me several quite retrospectives outside
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Argentina, but that give in Argentina is, as it gave me a greater
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pleasure and, above all, that it was in a room that I love
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very much. In fact, I filmed a movie at the San Martin Theatre.
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The truth that it was was very nice for me to be able to
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pass and see and dialogue with the audience in the lugone room and see a
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little back that was what I did I said neither that I am one hundred
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twenty thousand years old, but good is this God I say demanded as much
34:57
energy. I' m not here to cry, because I' m very
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lucky. I was very lucky in the places I was and in the moments
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I was to be able to finance my films and make the film that I
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want, not the ones that I demand, I don' t know who,
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but the ones that I want as I believe, and to always carry
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them forward, obviously, and that I have a team of friends and technicians
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and faithful professionals who also believe more or less in the proposal and curious the
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proposal, beyond which we don' t know very well what it will end
35:30
up being. But it' s worth revealing the intrigue you mentioned a moment
35:38
ago that you grew up as far as I' d say in film funding.
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Not now I listened to you and thought so, obviously, that,
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on the one hand, was a very big benefit, but, on the
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other, I understand that it affects you to want to go back to the
36:01
sources. No yes, especially because I feel like going back to the source.
36:07
Unfortunately, or I don' t know what. There' s a
36:10
lot of material. I think there' s going to be a lot of
36:14
material to sign from now on, in Argentina, and they' re not
36:19
in Buenos Aires, but outside of Buenos Aires, and I' m struck
36:22
when I started, all this started, the new Argentine cinema that if it
36:27
' s right, I don' t remember good. We are always half
36:28
crisis, that I am right, but the two thousand two thousand one had
36:31
a lot of a very big social crisis and many filming colleagues began to film
36:37
the result of the political conclusions of the turn And it seems to me this
36:44
is a rich moment also to see where to carry the microphones in the Chamber
36:50
and try to accompany from the side that one touches what is happening around us
36:54
or at least where one wants to put the accent or his body, his
37:00
sensitivity, in this case cinematographic, audiovisual. And that catches me a little
37:07
curious here and with the same elements that I did so many years ago and
37:14
see what I can do with those tools. Well in parallel, almost simultaneously,
37:23
with that retrospective that you were dedicated to in the lubons, your new
37:30
film was released in the last one so far, Eureka, after a decade
37:35
ago you weren' t filming yes, yes, it wasn' t that
37:39
it was a choice, but it was a coincidence of factors against the film
37:45
' s production. It took us, like, three years to get six
37:50
weeks to film. But, well, the project demanded, four countries were
37:54
filmed. It was signed in Portugal, Spain, Mexico, the United States
37:58
and in between we were caught as different stages in the pandemic, in different
38:06
countries. In other words, each part of the filming demanded a new technical
38:10
team, with new protocols at the borders and visas. And well, and
38:16
it was necessary to accommodate the people of many different people in order to be
38:23
able to carry forward also to expect climatic questions that each place demanded, be
38:31
winter, be summer and so on. And also, as I signed,
38:35
I was lucky enough to sign with some renowned professional actors, as Mortens says,
38:38
I love him more Truyani or someone else who may forget about Guadanilo or
38:44
Manaos. But also in the film that I filmed there are actors from indigenous
38:52
communities or indigenous reserves who are not familiar with the world of making a film,
38:59
and that demands more time, so it made me travel previously to the
39:02
places where I wanted to film, either in Oaxaca, Mexico or on a
39:06
rich footing in the United States, in the coota del Sur, with time
39:10
before the ación years I tell you to achieve a certain bond with the people
39:15
that I wanted to film and to more or less accept or embrace the project
39:22
and it is not an obligation for them to make the changes of money,
39:27
but it also causes a little pleasure or curiosity to know what the film was
39:30
about. Last April, in Los Angeles, you expressed the possibility that double
39:37
freedom will be your last film. This was circumstantial, or it' s
39:45
already a decision made, all decisions. It doesn' t cost me,
39:52
but it seems to me that if I look at it as well as romantically,
40:00
it wouldn' t be bad that I know because I could close the
40:05
cycle with which I started, with the same protagonist and the same landscape and
40:10
I don' t know twenty- five years later. I would like it
40:12
to be kind of cute, whether you want it or romantic, I don
40:17
' t know if it' s going to be like I' m saying
40:22
how things are and how the cinema is, not just in Argentina, but
40:22
internationally. It' s hard to film too and I also have other personal
40:31
priorities that I want to do as well. I say not just film movies
40:34
because it takes a lot of time to put them in the head even though
40:37
they' re movies that, maybe, aren' t for a majority audience.
40:39
It demands the same energy as a commercial film or, at least to
40:43
me, the hourly time I think of the film I want to film,
40:47
perhaps it is the same as a director who is more commercial or has a
40:55
wider audience success than he or she does. I think it' s okay.
41:01
That feeds me to think that too by being honest and I need food
41:09
to be able to carry out. As you well said before, it took
41:15
me ten years to make my last movie and I mean, it' s
41:19
not like I' m throwing autologies, but you have to have a certain
41:23
tenacity not to leave the boat halfway, that is, I' d better
41:27
change my echoly. Yeah, ten years old, and well, it'
41:30
s ten years old that I put the head on that company that was making
41:35
that movie and putting the body in that place. Well, so far I
41:38
consider myself successful in some way, because every movie I made opened the door
41:43
for me to make another. That for me is a huge achievement, not
41:46
only in Argentina, but anywhere in the world where someone dedicates or dedicates half
41:52
of their professional life to carry that activity forward. Yes, exactly well,
42:00
Lisandro Alonso, thank you so much for joining us. Let' s be
42:05
attentive then to what happens with double freedom I send you a hug and thank
42:09
you so much for this contact pleasure tadomio, Thanks to you ta then we
42:15
continue in audiovisual gp, radio mira. They' re dancing. Well,
42:27
you show me. The wind stops shining so brightly in the chapel that you
42:37
' re going to blind us all and appear this way out of nowhere,
42:46
if not more mother. This is not a sign. It' s a
42:52
miracle. The name of the father, of the son, of the holy
43:05
spirit, also the feast of ossions day. I don' t know why
43:20
she did it, but she did it, and it' s going to
43:27
have to do with the gentleman what happened, what happened, what' s
43:38
going on, what' s going on, what' s going on,
43:38
what' s going on, what' s going on, what' s
43:38
going on, what' s going on, what' s going on,
43:38
what' s going on, what' s going on? That' s
43:40
a little bit. It may be, it may not, for if you
43:51
want it to be a miracle, it is, after all, a mystery.
44:00
Nobody knows anything. The wind is only well the Sheets are only chronic
44:12
Sabbaths of a wandering saint. A film by Tomás Gómez Justillo, something more
44:17
that we can' t win at festivals in the United States and Germany.
44:22
I premiere on August 15 in Salas alone. Argentine cinema will be present in
44:32
the official section of the San Sebastián International Film Festival, through the man who
44:37
loved Diego Lerman' s flying dishes. It is a fiction about the remembered
44:45
television journalist José de Zer, who, almost forty years ago from the television
44:52
screen, generated a collective psychosis with the news of his position these visits by
44:59
aliens of aliens in the mountains of Cordoba. We' re with Diego Lerman.
45:07
It' s a great pleasure to welcome you here on GPS audio-
45:09
visual radio. How are you, how are you, Julia, how are
45:14
you doing very well, well well, how does the man who loved flying
45:20
plates count and a little bit. The film is very freely inspired by what
45:25
was known about the public character of José Cer that you were not his real
45:31
name, but not good is how it deals with a man who covers shows
45:38
and suddenly one day finds a footprint, burnt grass pastures. We are in
45:45
the year eighty- six and from there creates a fantastic saga on television,
45:52
in what was Argentine television about alien presence and a collective psychosis. And well,
46:00
anyway, a little bit, the film goes about beliefs too and so
46:05
is the point of view from where reality is seen or perceived and these issues
46:12
out there that you can' t see or touch, like aliens or religion
46:17
or beliefs, well what happens to them and that, however, you can
46:22
' t see or touch them. But, however, they are for many
46:29
very credible, not very tangible. I mean totally and it' s got
46:35
something really funny. The film has a whole comedy area also where well,
46:39
he makes the notes in this village lost in the middle of the mountain and
46:43
they start to act and to make part of the whole town, because,
46:46
well, tourism also grows, that begins to grow and begins to agree with
46:53
him. And well, in the middle of all that charade, more singular
47:00
questions like and good begin to appear and the character begins to question if he
47:09
is not a chosen one, but will be a sign of different things.
47:15
I don' t want to spoil too much, no, but I gather
47:21
that messianism, so present in our day, is another theanist. This other
47:23
aspects of the film. Messianism is very present. The religious is also present.
47:34
Fage New is the daily origin of the New faith. It was a
47:38
news show, not a news show. Yeah, and well, then to
47:44
what extent to entertain the viewer. It was a goal where everything was valid.
47:52
That' s quite the way it is, very much remembered that cycle.
47:58
Well, since when did you have the middle of this story I tell
48:01
and how did you get to shape it, because I think it was your
48:06
project a long time ago, not for a long time. It' s
48:09
a script that' s gonna start me five years ago, well before the
48:15
understudy. I sometimes work in parallel scripts that some never know where they'
48:21
re going to go. The theme of this script is that it was a
48:24
very expensive movie. The reality was that it was a movie that we didn
48:29
' t even know how to start trying to finance. But, well,
48:36
it was a script I had a long time ago. At one point Netflix
48:38
people told me they wanted to do things with me, do things together.
48:45
I got called that and well, and then they asked me what projects I
48:52
' d like to do and I took out the script I had and I
48:59
said this is the project I' d love to be. But if we
49:00
can do it in ideal conditions and propose a couple of conditions, a period
49:07
film is a movie that has many extras I wanted to work with the people
49:12
of the villages where we film. We are going to comb in Carolina,
49:17
in the province of San Luis, a large part of the film, another
49:21
part in Buenos Aires, and well the conditions and paradox are over. That
49:28
is why the medium of this hecatombe of our cinema that we are living,
49:35
of everything that is happening with the funding of the Institute of Cinema the promotion,
49:42
we were filming outside the Institute, financed by a platform through our producer,
49:49
with the usual team. But, well, that' s how it
49:54
was made and it was possible to make this movie and what references did you
50:02
have in Joseph' s voice of being before this I also thought about aliens
50:08
was something that attracted you. Yeah, I' m attracted to it for
50:13
a long time. I went on vacation, I go to Cordoba, to
50:15
the province of Cordoba, and there are all kinds of stories. I don
50:21
' t know much place, different places, there' s a lot of
50:30
mythology too and on one of those holidays I went to chapel. I was
50:35
accompanied by a friend of mine to go to Monte Chapel to see what was
50:42
remembered and there, well, I met a couple of characters and they started
50:45
telling me this in the framework of a vacation and I no longer remember if
50:51
five years ago and I took notes and well I started to contact the people
50:53
of the place. I remembered a little bit. The saga has something.
50:58
You also saw Orson Weld, if the War of the Worlds, because people
51:01
from all over came to settle down sects at one point I spoke to a
51:07
former mayor who told me that the problem of the moment was that the phenomenon
51:12
was so great that sects came and settled and they didn' t know what
51:16
was going on, like the place was energetic, what was going on between
51:21
the sect. It is a very referential and referenced place and for everything that
51:27
works with energies. Madonna arrives in Argentina and asks first to go to Capilla
51:31
del Monte and then go to Buenos Aires. Let' s say there is
51:37
the uritorco and all the historians a good theology and there are a lot of
51:44
questions there that interested me on different sides and when I started to see that
51:52
there was like a lot of broth and a lot of cloth and the research
51:59
was growing, it was that I started to write the script can be understood,
52:10
yes understand as a tribute to the iconic characters of our childhoods. The
52:10
man who loved flying dishes, or I think it' s more a tribute
52:17
to Jose Zer has something to me that I liked and attracted me. Juan
52:25
José Zer is also a character with different stages. He covered the tabloid or
52:31
different events, as I was interested in the one of the show chronicler who
52:38
suddenly wants to do something on the news, so he has some shows and
52:47
well there from that world, from his universe. In fact, the film
52:52
starts with a musical. It' s a very free movie. Also very
52:59
his participation Monicayos like Bedets, for example, from that part, which is
53:07
a spectacular participation, because he learned a whole very complicated number, but yes,
53:15
it has to do with something to revisit the eighties And what it was,
53:19
because the eighties was a decade of beliefs and all that was in bloom
53:24
of skin. Not later comes a more skeptical time with these and now I
53:30
don' t know what time we are in, but we are in a
53:36
very rare time, very very strange, almost like aliens. It is not
53:39
very strange, but very earthly, unfortunately, but some of the messianic blooms
53:46
again, not like those leaders who come in the name of divine forces and
53:53
promise yes this non- existent worlds of the two miraculous, exactly miraculous yes.
54:02
Well, let' s remember then that the protagonist of this comedy I
54:10
don' t know how to call it. This is Leonard is Baraglia,
54:15
which is why you see bright photos. We didn' t want to work
54:22
together. A lot ago and well, when I had this script, I
54:25
called him and told him that I have the project to do together this as
54:30
soon as I guide him. He said well, I am. I don
54:31
' t know, I don' t even know when you' re planning
54:38
on doing it, but I' m here and it wasn' t spectacular.
54:38
He' d go to ninety- eight percent of the scenes, wear
54:43
and delivery. Physically, it was a really good shoot. It was filmed
54:50
in four provinces, not in four different places, much more demanded to heat
54:55
the mountain with different temperatures. It was also a long filming, so it
55:07
makes them a sensational work, a composition very almost unrecognizable. It' s
55:15
at times good to do, obviously, but it' s taken, it
55:22
' s taken by an energy counted by aliens. Then something to Diego Lerman.
55:27
Thank you so much for this contact. Well, congratulations on this World
55:32
Premier. In the official section of the San Sebastián International Film Festival we will
55:37
be very attentive, as always, following Argentine cinema. I' ll send
55:43
you a big hug and well, thank you very much, well, a
55:46
big b that Julia, thank you, and we' ll see you around
55:53
until next Wednesday we' re saying goodbye here on GPS audio- visual radio,
55:59
on radio train topic. After nine, do not leave because bad night
56:04
is coming and remember, as we always say, but today more than ever
56:10
you see Argentine cinema. Thank you and see you next week. This was
56:30
GPS audiovisual radio, we expect you next Wednesday at 19 hours on Radio thirty
56:45
or train cap