Latest / GPS Audiovisual / GPS Audiovisual T05 P14 - ENTREVISTAS PAULA HERNÁNDEZ, ROBERTO SUÁREZ, JIMENA MUÑOZ

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GPS Audiovisual T05 P14 - ENTREVISTAS PAULA HERNÁNDEZ, ROBERTO SUÁREZ, JIMENA MUÑOZ · 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, are committed
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and continue to believe in a culture as the fundamental pillar of a society,
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a culture that is free, plural, accessible and supported by the State for
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its development. Welcome to GPS Audiovisual Radio, with the journalistic production of Norberto
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chap and the driving of those who speak to them, Julia Montesoro and in
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the technical operation. Gonzalo Sorais. Roberto Suárez is a Uruguayan actor, playwright,
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teacher and director who played an exclusive role in El Santo, the prima
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opera of Agustín Carbonere, winner of the award for the best director in the
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international competition of BAFISI of two thousand twenty- three, which is exhibited this
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week in the Cacodelfia cinema. In El Santo Suárez, Ruben, a humble
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healer, is incarnated, a healer who cares for his patients with different problems
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and who addresses them with extravagant orthodox hypoco healing techniques. It is a drama,
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it is a good story about the rise and fall of this character who
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calls himself the Holy One, is known as the Holy One and that well,
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little by little, is inserted from a very humble and very anonymous place
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in a society that believes in issues that for many can be incomprehensible, unbelievable
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and for others are a table of salvation, especially people who are experiencing problems
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of difficulties and diseases and who come to this character, to the Saint of
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the title, to seek solutions. We are now in communication with this Uruguayan
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playwright actor. We are re- establishing communication with him to start then this
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new radio audiovisual GPS broadcast. We' re moving on. Have faith in
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me you have to believe me you desperate give up forget about science medicine.
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Those are superstitions to destroy. Ajan mi immortal, El Santo, a film
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by Agustín Carbonere, award for the best film in the BAFFISI international competition.
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The Holy premiere only in halls. We said then that this premiere El Santo
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has Roberto to Suárez as exclusive protagonist. A Uruguayan actor, playwright, teacher
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and director with whom we are finally communicating at this very moment. How about
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a good afternoon Nice to meet you here on GPS audio- visual radio.
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Thank you very much for this moment. There' s a weird connection issue.
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I don' t know if it' s happening that we' re
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cut, but we' re going to fix it exactly, we' re
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exactly on both sides. We' re used to these things solving the inconveniences.
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Well, Roberto, what you found in the text of the Saint that
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prompted you to accept the proposal to make this character and to be the protagonist
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of this story. First of all, when Augustine first communicates with me and
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speaks to me about the subject that he wanted to deal with this whole universe,
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with curanderism, with the healing of miracles, he led me to my
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childhood because, in fact, yes. You got a whole childhood effect.
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You said, since I was a kid, I' ve lived in the
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world so fantastic. Ah sorry it took me to my childhood yes, because
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my grandmother was a woman very close to the gypsies. Then she lived in
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that universe where, for example, there was what was called the clock of
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San Roque that she told us to listen. If you always heard that watch,
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the guide would die for that place or put a potato in his belly
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for children' s hemorrhoids. We never went, neither me nor my sisters
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to the doctor. Practically that we lived in a world that had those characteristics
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that he poses in the script and somehow attracted me a lot, for it
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is a world that, while still existing. He got lost, too.
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There' s something about that universe that doesn' t exist anymore, like
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they spend a hundred years alone. That' s a way of thinking that
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disappeared, because if there is curanderism, it doesn' t exist the old
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way. And I think the character happens a little bit to Ruben, because
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he ends up being in that world of television, of fame, which is
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not from where his roots are and his clear beginning. So, this was
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the first thing that attracted you. Let' s just say I referred you
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to your childhood, to a world you knew yes. And the second had
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a meeting with him, that we met in a bar here in Montevideo,
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because he was working and immediately I realized that this guy has a brutal talent
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and or that pink with the black, but that it hurts him and then,
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well, we had to grow the two- hour one and we spent
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it barbaric and we embarked now. Okay. The Saint, as we said,
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is a production with an exclusive character that you play. Not how you
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faced this role once you had the encounter with Agustín Carbonere and that, well,
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I sent you this that you were just telling your childhood. What a
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job you did with this role to give him these characteristics. If we want
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to, it' s not like a preacher, a kind of modern Santa
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hand. And there we began with Augustine joining and turning very obsessive of communicating
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by Whatsapp when we could, we saw ourselves finding for many times looking for
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refinement of true santeros, of healers, emerging in that clear univer that the
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management of induction and suggestion? How can you induce and suggest and even talk
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about that we had to have that attitude in the filming set itself, be
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really involved in that universe and power with the people we were working with also
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take them to some way of whether universe anque if it was known to be
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fiction, because we' re fictioning, but getting all into the game and
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had a fact, I think I also had a barbaric talent in the team
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selection. He chose people with a lot of passion for this job, very
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professional people, but also with a love and a dedication, because it was
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a very big job, because well, because there were some Maybe we didn
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' t have all the possibilities in the world to make this film. But
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if he was on the street or giving a hand and the talent from Eva
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herself swallowed evolved in all roles. You saw the message, the wardrobe,
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they were people who were very committed to the project and that makes things flow
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and you are getting more and more into your Role, because the rest are
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also working in shape in that direction. Of course, of course, well,
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it also has its complexities. This gentleman who you interpret not because at
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first he is a humble, almost anonymous person and then you are suffering these
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transformations and that even affect beyond the development, of his activity, of curandirism,
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of esotericism, his personality also begins to change. It is not a
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kind of tyrant in some sense, no yes, yes, of course,
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it becomes a kind of dictator, a kind of calibul surrounded by those women.
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In the end, I think he has a curve to the character that
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I love, and that' s when he starts to absorb that other world
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that they didn' t belong to and that at the same time he starts
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to give what he didn' t have, because even a kind of love
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of him with the character of the child' s mother is born. But
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you also start to notice that she' s starting to give money, she
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' s starting to have wardrobes, she' s starting to wear the camera
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and the cameras start that somehow works like some kind of demon of temptation symbolically,
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from my point of view, I don' t know if I said
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I' d like to do that, but there' s something about getting
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into that consumer world where belief starts to disappear. I believe that it is
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at the same time that he is raising up in that world, that his
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powers are beginning to diminish, too, yes, well, and that he
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becomes some kind of dictator within. He changes his personality, changes, turns,
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begins to become paranoid who meet those tragic hero conditions. He begins pride,
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begins the paranoias with the other beings that surround him, with his own
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friend that always companion him. Yeah. Yeah, yeah, yeah, yeah.
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I think it comes to full madness, it doesn' t get to
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that crazy stadium it turns and it gets lost clearly. Okay. There is
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a phrase that is seen in many moments of the film that says the FE
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moves mountains, it appears that repeatedly along the saint, what is your relationship
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with the FAITH? Roberto Hi you' re listening to us. We are
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in communication with Roberto Suárez, who is in Uruguay. Yeah, there,
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it' s there, it' s back, you' re listening to
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us. Yeah, yeah, yeah. Well, I was asking you then
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from this phrase. The FE moves mountains that you hear, you see along
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in a poster, in repeated opportunities. Your relationship with the FE is written
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in the film in English. I' m a very atheistic person. I
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don' t know if you see past, very mystical, very full of
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fantastic possibilities in a thousand Linez, I even went to Communion. Right now
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I' m carde that you won' t allow me to play the dream
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of life that has to do with how you believe them, but what happens
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is clear. Over the years I got into theatre management and well, then
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one sees manipulations more easily, then it is harder to create clear. Sure,
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well, I was just gonna tell you in Uruguay. In your country
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you' re an actor essentially recognized by the theater. There is no dichotomy
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in you between being a theatre actor and being a film actor. In any
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case, you noticed differences between them. Well, theater is essentially in my
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life. And even though it seems odd to you that he hasn' t
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acted in the theater in years, I' m doing a lot of directing
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and dramaturgy. And yes, in the theater the obvious theme that has to
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be face to face. A sapoline is born and dies when it has other
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pairs, other poetic universes, which it can afford. It does not work
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on the dimensions of how cinema has to do. And in cinema we work
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through an apparatus that is the Chamber, Our audience is the Chamber. Let
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' s say then they' re abysmal differences. It happened to me with
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this film and with very few others that I really enjoyed as if I were
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in the theater, because perhaps because of the character' s dimension I insist
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it again with the weather. Usually, movies, movies, movies or series
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tend to cool down because of how we' re handling those by the so
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- called human factor and the technology that I have in this movie happened to
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me that happen and this is your first El Santo? The Saint is your
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first star in creative cinema. How we missed it has a good time.
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We are having difficulties again, but in any case we highlight this work of
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yours in the Holy One. Roberto Suárez, the exclusive protagonist of the Saint.
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The film is an award- winning prima opera by Agustín Carbonere, which
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is sencipe in the cinema art Cacodelfia. Thank you very much for this contact.
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We send you a very big hug and congratulations on your work at the
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Saint. Thank you so much. We' re moving forward on GPS audio
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- visual radio, although now tomorrow we' re going through with happy,
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but I think early salt that' s so dull for the inauguration of the
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new temple. You want me to see to it that the last of Sunday
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we' re going to stop at the beef we can' t go straight.
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I can drive if they' re tired, you' re not on
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the roadside and we need to teach you things. We' re still walking.
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Sure, there' s a town close to patience. Lene the good
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lord, he won' t abandon us now. Listen, you' re
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a Joseph or whatever I need, his wife says no. No. She
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' s not my wife, my daughter Elena. How much they calculate,
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you know, if I don' t get it in olaca, don'
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t worry about us. We have time and hon are you nowhere. We
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Mission Praised, Lord visions Brothers Blessings, Brothers Mani, but what is your
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name. I' m Emilio. You don' t get the punch,
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you don' t get the punch. It' s worth me just like
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Leni. God gave you a mighty beautiful spirit. I would like to invite
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José Emilio to come here for a baptism where Pastor Saca is careful with what
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he has in mind in the people of many evangelicals, as well as you.
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Not even the wind sweeps away the direction of Paula Hernández, hailed in
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Toronto and San Sebastián. The wind raging premiere in halls Thursday 21st March.
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We' re with Paula Hernández. She is the director of the wind that
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sweeps away the multi- premised Rod movie starring Spanish Sergi López, Chilean,
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Alfredo Castro, Almudena González and Joaquina Acebo, which is currently being exhibited in
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venues across the country. On Tuesday nine, the wind that razes will be
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presented in a special function corresponding to the cycle Argentine Directors, organized by GPS
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Audiovisual and genre DAK in the cinema art Cacodelphia at 19 o' clock.
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Thanks for joining us. Paula, how are you? Hi, Julia,
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okay, all right, all right. Okay. A pleasure always to receive
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you here on GPS audiovisual radio. I' d like to stop at your
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work with Almudena González. She is a woman among three men in history,
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who tells the wind, who razes three men, with three different looks and
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experiences about the world around them that are immersed. What you were looking for
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in her to embody Leni Mira' s character. It' s interesting when
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you start to do a casting process, the bodies begin to appear and then
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those characters start to good, to have a volume beyond words. We did
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not do a casting with many Uruguayan girls from Argentina, among them, was
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Almudena came along with another girl very in the final instances and he was very
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crazy because you looked at both and the two proposed twolendings so different that in
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turn they were going to make different movies. Then he asked me a little
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to think that the Lenia is the one I wanted to tell. How this
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wood was the start of the film, how it made that curve, of
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that little modification that is happening in history. And I felt a little that
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Almudena had managed to put together some of that discomfort of the beginning, to
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give what can not be specified, but that then it develops and puts into
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words throughout the film and that also in them that seems to me to be
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very talented and very ambitious and very hard working according to what needs to be
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sought. I think he managed to confluence in it some of this bread person
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without age. Let' s just say that he had at times is something
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he' s a teenager at the moment you seem more adult at the moment
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things appear very clearly from someone more girl. Then nothing. I liked it
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a lot when I one of the tests internally I said is this good as
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in sleepwalking another one of your movies that in that case was with orneil.
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Delia chose a virtually inexperienced actress for leading roles. Not then how is your
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approach to them, because someone who brings a path is I imagine different than
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a young woman who hasn' t worked on such weighty roles in a story.
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Yes and I wouldn' t tell you, because for me the work
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with the actors is very little by little a very thorough construction that, on
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the one hand, has to do with counting that character, but also with
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establishing a link with that actor or that actress. So, I say that
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takes a while and it happens to me so much with adults. Let'
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s say in this case two adults who came from other countries that we didn
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' t know at all and well, we had to build that bond with
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Almudena. That' s how it was. What' s different is that
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well, there' s something very. This thing gives him that for the
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first time he approaches or for the second time to a set that then,
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well, he has to find a physical, emotional preparation and, beyond the
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work of the character, go accompanying that actor to do that process until he
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can reach an instance of filming. It was very comfortable in that sense.
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Working with her was someone very dedicated to what I was proposing. We did
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a training together with Maria Laura to see and with a foniatra also to work
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on the whole subject of language. But it happens to me that it'
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s first to go good to make them feel comfortable. Also with all that
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you' re going to have to explore. There' s something about turning
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that back on them. Also now tell stories from a woman' s perspective,
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a gender perspective. It' s also something that was established as you
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built your work, moving forward in your work See, if I think about
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it the same from the beginning, always the protagonists of the films were women,
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yes, with films very different from or from heritage, a love rain
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has nothing to do with these films and in some way and something of the
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look, which is something that I find natural, because I count from me
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and I am a woman, I say of my imaginary. It has to
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do with that. So I think they raise different issues and maybe there are
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different positions. I think it has to do with something that' s getting
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stronger, that' s more of a style, and the style has to
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do with maturing, with doing, with making mistakes, with going looking for
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the direction and language of one more than more to see. I think it
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has to do with that, with a maturation based on the work and what
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you' re counting on and how you want to tell it. But I
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feel like women were always very present in the movies. Yes, yes,
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no doubt I was saying this precisely because of this that you have just explained
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not of the artistic and intellectual creative maturation of a director and screenwriter, as
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you are, well, in this case co- writer in the case of
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the wind that breeds lionsels and I do believe that for me it has to
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do with that process as the career of a director. For me it is
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interesting, beyond my own work, when you see a director, a director,
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a tour, you see the elections, the moments, the periods where
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something closes, a creative search and where the blow opens another. So I
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do think it has to do with that. Now the exploration of motherhood is
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an aspect that is also very present in your films. Not how you decided
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in this case, in that of the wind that sweeps away to investigate in
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motherhood, but from its absence and it is from the children, from the
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marks that remain in them, from the imaginary of what these characters can say,
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beyond the word, from small clues, from small scenes where these mothers
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can appear and with those few words, what is told in some way to
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amplify that world of what you are seeing from the reactions of men, to
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what they tell before how they relate to those women who are absent, it
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seems to me that it is built just like when there is an absence,
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it is built by what is left or by what is visible or by what
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is omitted. Also then it' s a little bit. The construction of
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those two mothers is built that way in the film is like out of the
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country, not the mothers. The film builds a lot on what we say
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about what is not said in the doctoral or what is out of the plane
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or the sound construction that has nothing to do with exactly what we are seeing.
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And in that sense, I feel like I don' t like movies
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where you have a permanently informative thing. I don' t say sometimes that
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it' s a phrase, a text, a way of answering from a
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father, a son in relation to a memory, and it seems to me
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that that sets you up with an imaginary that one, as a spectator,
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will complete. There is no exact explanation of what happened to those mothers,
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but we can clearly feel in a father who condemns that mother or that bond
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and the other who does not take it in other ways. Yeah, at
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the same time, I think, if I' m wrong, correct me
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that this is your movie where you are. You' re talking about the
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mothers of the children, but you' re also talking very strongly about the
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father model. I don' t think it' s the first time you
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' ve actually given them a story. No yes, because in the case
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of cyames there is a father who is not It would work a bit like
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what happens here with mothers, not like a whole world that is armed from
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what is said, from a department that is seen over the end or in
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sleepwalks is the presence of the father and the ghost of the grandfather as two
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more blurred male figures in relation to that feminine world. And here it seems
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to me that it was as well as the possibility of saying good. Let
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us count these two parents, who are two very particular parents, also with
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very strong ideas about how to look at the world, how to educate their
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children, one that is a world traversed by words and by faith and certain
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predestined questions, and the other, which is the opposite, a world more
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of the silences of the body, of the actions of what is happening day
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by day in a more earthly way, but that are two very forceful looks
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of the masculine world depending on the universe in general, and of the children
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in particular. And in Lenny' s case, I think it' s
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interesting to see a father who, on the one hand, sees his daughter,
30:52
needs his daughter. At the same time stop seeing her. There is
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something about her growth that she prefers not to see at the same time she
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has the notion that that daughter will at some point choose her destiny and that
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she will run and then what she does with it. Since there is some
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manipulation that is mixed with love, with guilt, with fault, with the
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possibility of releasing late, that is, I think that several layers appear in
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that link between Lei and his father. Not that it' s interesting how
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that father works with that daughter. Of course it is also as you said,
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a while ago the opposite father' s face, not because this is
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a pastor, it is very iron also in its ways, in its forms,
31:41
in its looks. The other, though clumsy, is, if you
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like, freer in the relationship with your child. It' s freer for
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us. And I think the same way you might think that dogs arrive in
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your world, or cars arrive, or people who need a repair, there
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' s also a son, and all those people can go, too.
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There is no freer way of living them also in a situation of great isolation.
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Let' s say they are two characters who live in the middle of
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nowhere, where they also establish a bond, where there is also a love
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and something that grows, but there is also an authority and a power over
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that son. In a way I think that, anyway, in the two
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parents, with their big differences, somehow there is also filial parental love.
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I say no yes, of course, going through a lot of other things
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a little bit. The idea was not to seek stereotypes, but rather that
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the characters had their truths and their miseries and virtues. So they have them
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and many now, well, speaking of this, telling stories from the female
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perspective, you can establish a trilogy, you can see it as a sort
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of lasciames triptych and sleepwalkers with the wind that sweeps away. They made you
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notice this, yes, they made me notice that a lot. So,
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very well, yes, very much. I' m strange, because at
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the time of making one understands that well, that there are issues of linking,
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there are things in which in principle sound like starters of a project.
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But then, when you start filming and thinking about the bet and decisions that
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have to do with the sound, with the image, with the performance,
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well the marks begin to appear. So that' s it. The first
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person to mention it to me was my editor. While we were working and
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he was telling me this makes me remember sleepwalkers. This is a cymbal thing.
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This is also like those crosses that work, obviously in a more unconscious
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way, but that surely has to do with my style or with my concerns
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or my tastes also more clear, of course, well I told you not
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as a demerit, but quite the opposite. It' s not the prints
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they' re picking up. I think you bring to life in general,
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that which you know and which has the stamp of your history, of what
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you have brought, identity, which is another strong theme in your films,
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in all your films, the theme of identity. Now you can also dialogue
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in these three films, I think you can establish a dialogue between these three
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films, because they talk about the links of families and also about incomplete families
34:54
or in crisis. This is something that particularly appeals to you. It seems
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to me that the idea of family always had a kind of overvaluation in some
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sense, as for me a family is important, but it is a situation
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that is so beautiful. It' s as beautiful as it is complex and
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laborious. I think there' s something that' s kind of good when
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you talk softly about motherhood. Well, yes, martenity is a marvel,
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but it is also a very complex and very thorough work. It involves a
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lot of attention to that bond with a child. No, yes, this
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case. Yeah, they' re families, well, the three families,
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a more traditional family in some sense, the other one' s a family
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where there' s no father. These are families where there are no mothers.
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And I think beyond whether these are the latter more dysfunctional in relation to
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sleepwalkers. It seems to me that what is interesting is always to work a
36:06
little on what is not seen, on what is not said, on what
36:08
is changed, on what is accumulated a little. There, as if digging
36:15
through the folds of things, it is not visible, because sometimes that is
36:20
where the most interesting thing is, also of those bonds, of what is
36:23
sowed clearly, of course, as in life itself, there are sometimes not
36:30
many things that are told precisely in those parts of history. Now there is
36:37
a moment I would say special of the film, among many others, but
36:43
this one that particularly caught my attention, which is the encounter between these two
36:50
young people without the presence of adults and speaking of the present and the future,
36:57
but without opening a moral judgment on this situation, it is not true
37:04
what attracts you to express them generationally that stage in the lives of young people.
37:13
It does not seem to me that it is a very difficult moment,
37:17
at least always my memory of my own adolescence, that there are those who
37:22
passed the adolescence to barbarous and those who for a great great topic for me,
37:25
was a great topic and I think it has to do with that age,
37:31
which is of pure exploration, on the one hand, of pure desire,
37:37
of pure contradiction, to try, to reaffirm oneself in their ideas,
37:40
in their values, very clumsily, as one does in those moments where there
37:46
is no moral question that governs you. In that case, there' s
37:49
the word of your mother and your father that from where you have to be
37:52
able to run at some point, but I say it seems to me that
37:57
you have that situation a little bit. It' s a freedom, but
37:59
a read, freedom traversed by many other things. They don' t sometimes
38:05
make him feel more in prison than free. But in this sense, I
38:08
like their dialogue very much, because it is good. It is what happens
38:12
to them with that encounter, with another body about his age, of the
38:15
other sex, two characters who have no contact with the other sex, where
38:22
many things are played, what you say, your desires, your questions,
38:29
your jealousy. They also appear more complex sides of law, not as something
38:35
more complicated or harder to do with that line of the father, like when
38:39
he puts the dots on tapioca. And it seems to me in that sense
38:45
that it' s a bit like two mirrors. There' s no mirror
38:51
that serves the other and I think it' s the only moment in the
38:54
movie. Yes, they are without that look of the parents. Of course,
39:00
I think it' s a very special situation. Well, Paula Hernández.
39:04
Once again, thank you for joining us. We remember then that the
39:09
wind that ravages Paula Hernández continues to be displayed in theaters throughout the country and
39:15
on Tuesday nine is going to be in a special function of the Argentine director
39:22
cycle, which takes place from 19 o' clock in the Cacodelfia cinema,
39:30
where, well we will be able to enjoy this great multi- premised film,
39:37
Paula Hernández' s film and we will also have a meeting with her,
39:39
with her director. Thank you very much and good we find on Tuesday
39:44
Paula a very big hug. We' re moving on to Radio Audiovisual GPS.
39:57
That' s me when I was ten, and that' s my
40:04
neighborhood where history comes from. What I want to tell you here is a
40:08
carmine stage. I' ve seen it changed since you went out cold and
40:16
you' re in fart see my bitch, that leave her, she gets
40:22
out, you' re going to change school Juan and the less we cross
40:24
better for him and for everyone. They look at the whole movement, at
40:27
what time I left and how many are the family, the whole move and
40:31
you' re going to have the stick. So something' s got you
40:35
as phrases, too. I' m every cold space and that' s
40:46
why, when you know the murac whether or not I went back week after
40:53
week. What' s wrong isn' t going to my house. It
40:58
' s worth it The lowest actio sees you run. We would have liked
41:06
to know what was the last day of our childhood. We are a few
41:22
days away from the beginning of the ninth International High Film Festival, which will
41:28
take place in Jujuy from Friday six to 13 of this month. As announced,
41:35
this beautiful festival will open the film Lipan by Gonzalo Calzada and you will
41:43
see the first film made with artificial intelligence. We are with Jimena Muñoz,
41:51
your general producer, to talk about the great news that will leave us this
41:57
new edition in Jujuy. How' s Jimena, Welcome, JEPS Audiovisual Radio
42:02
Hello, Julia, how are Norberto. I like to say hello and be
42:07
back here with the GPS audience. Thank you, good. This ninth edition
42:10
of the festival opens with the documentary Lipán, which will also serve as excuses
42:16
and fits the word for an encounter with Tomás Lipán, one of the great
42:22
popular artists of the region. What Lipan represents the film as the opening of
42:29
the festival. Okay. Without a doubt, this ninth edition has a recognition
42:35
of our culture, our local artists, so Tomás Lipán is a great film.
42:43
Lipan to boot is a well- known artist in the province and that
42:49
means our roots, our cultural identity, also through his music. The film
42:53
describes her very well in her life. It happened to us to start with
43:00
this film in an edition that jujuy is going to be the festival vedette.
43:06
Without a doubt, having three feature films also in competitions of local filmmakers and
43:12
filmmakers is ejjenias, So we are extremely proud that this edition, a little
43:16
wanting and unintentionally, ends up honoring our local artists, of course, well,
43:24
wonderful. The festival also has a wide program that contains official competitions,
43:32
parallel sections, premieres, academic activities, talks, meetings with directors and directors,
43:39
outdoor music. Free of charge, what are the essential axes of this
43:47
whole proposal that the Festival of the Highs will offer in its ninth good edition
43:57
this year. The particularity is that the festival, of course in this context,
44:00
we have adjusted it to the economic context, above all, and we
44:07
have been able to select some activities to stand out with great guests, one
44:16
of those Lipan and the directors who will present the film and that the next
44:20
day, after the opening of the festival in Sala, will be providing the
44:24
same outdoor film in the Plaza de Purmamarca and there will perform Tomás Lipan some
44:31
songs and some songs and from there to start the festival this Sunday with all
44:37
the workshops and academic activities and special activities that you describe. And this year
44:45
the Impronta is either opening and inaugurating venues in Cujuy many more with this mission
44:51
and this objective of continuing to reach all corners of the province, not only
44:55
with mobile cinema, but also trying to inaugurate a new headquarters year by year,
45:00
seeking that the localities and together, this management work that we are doing
45:05
with the government of the province nine years ago, is to try to rearrange
45:09
these cultural halls so that they become cinemas those that we have. So,
45:15
well, this year we are giving ourselves that luxury of being able to inaugurate
45:22
new venues, as in San Pedro, as in Mahuaca and as in Ledesma,
45:28
in addition to the tours that we have throughout the year. And another
45:32
important thing of this edition is a parallel, as I said well, in
45:37
addition to all the parallels that you already know of each of our editions,
45:42
such as cannabi cinema and animation cinema, the functions of heights that we have
45:46
this year have incorporated a section that is of accessibility and of inclusion and of
45:52
audiovisual accessibility. Above all, that' s what we' re going to
45:54
talk about. We invite Federico Zque, who is the director of the deaf
45:58
film witness. We will be with him opening a new parallel section within the
46:07
festival and with all this theme in order to be able to evaluate the consumptions
46:14
in the ways of making cinema and that are more accessible and more inclusive.
46:16
So, we' re also going to have an adapted function, which we
46:22
' ve asked to put in Gol to make a function adapted for boys and
46:28
girls with autistic spectrum, so it' s also something to highlight. And
46:30
after the other parallel sections, we also have nice activities, like we'
46:36
re going to have guests like Sabrina Farshi, Ana, Maria brushni Victoria Carrera,
46:42
who are going to come for the film Offering that already had its tour,
46:46
but it didn' t reach Jucuy, so this meeting is going to
46:51
be very important in this section of perspective of genres and diversities. Of course
46:53
she is representatives of women and cinema, which is where it premiered. In
47:00
the previous edition of women and cinema, this film was released, which,
47:04
as you well say, was circulating in many places and is a very diverse
47:10
and very rich testimony about Argentine filmmakers and their ways of seeing the world.
47:21
Really very interesting. This is going to be a special activity. This is
47:25
also a special activity where we have a meeting and a talk with the directors
47:32
and the films to see also in our environmental section, as always we work
47:40
with some films to stand out with some guests and that is this year'
47:49
s festival, a ninth edition. You could say that austere, but a
47:53
powerful and exquisite programming with more than a hundred films that we are going to
47:59
be projecting in more than twelve halls throughout the province. And also one thing
48:05
to highlight is that we are going to welcome him to John Paul Zaramela,
48:09
a great animator. We' re going to make a great trip here to
48:15
Molulo, to a little school that' s left on a horseshoe road in
48:20
the middle of the hills, it' s called Molulo and he' s
48:22
going to be going with the mobile cinema. They' re gonna be taking
48:24
movies on foot. So we' re going to have some workshops there at
48:29
the Molulo school, with some activities with Juan Pablo and his screening of the
48:35
short films he has animated. Well, there are two essential axes. Two
48:40
essential aspects of the festival, which are regional integration, on the one hand,
48:46
and the construction of new adolescent audiences, on the other. Not how
48:52
these aspects were worked in this edition of the incorporation of new technologies and that
49:00
is all you refer to. Yes, we already implemented this in the eighth
49:09
edition. We begin to offer as workshops activities that have to do with artificial
49:16
intelligence and new challenges for the construction or production of films. So we were
49:25
providing as some activities in three sixty throughout the year. The journey invites,
49:31
through the promotion to work this axis that has to do with the new technologies,
49:37
the digital age and the artificial intelligence. So we incorporated it this year.
49:43
We are also going to have this world premiere with the artificial intelligence film,
49:50
completely made in artificial intelligence, with its directors, who are also going
49:54
to be telling us a little bit about how this film was made. And
49:58
in the middle of that, well, several premieres like the Ipan also that
50:01
is world premiere, and that of these three documentaries that are in competition,
50:07
that are of filmmakers and juqueños who are also going to be premiered their film
50:13
And we close the festival on Saturday thirteen with the film The floats, that
50:20
we will have the presence of its director and the protagonists like Kapusotto and Carola
50:25
Reina here in the province. I' m a national premiere. You can
50:30
say no like that. That' s a national premiere. Well, the
50:35
winners and Kapón' s movie. Now, you name it, as well
50:40
as passing through. But it is very revealing detail that there are three playful
50:49
films that are incorporated into this edition of the Festival of the Highs. That
50:54
also speaks of the growth of the audiovisual industry in the province. That'
51:02
s the result. One could say from all these years, of much management
51:07
and work that has been done from the provincial government and from last year,
51:14
that we are already a cinema institute that is not only the promotion of the
51:19
exhibition through the festival and the promotion with the laboratories that we have been providing
51:23
and that from and after these laboratories that we have been offering since the two
51:28
thousand sixteen for the local filmmakers this is the result of being able to compete
51:35
in one of the international competences. From this edition. For us it is
51:42
very rewarding and because it is the results of so much work in these years
51:49
and of the support provided. The support is clear and the industry that in
51:53
a short time has had a growth. And not only do we have these
52:00
three documentaries that are going to be in the festival and we name them because
52:02
they are going to be in the framework of the edition, but there is
52:08
a lot of audiovisual content that has been born from the laboratories or from the
52:13
promotions that have been offered and has been of great help to see that the
52:16
not that jujuy can compete in international spaces and with very good products. Now
52:25
a curiosity and it' s how this intelige movie arrives made absolutely with artificial
52:32
intelligence. How it arrives at the programming of this ninth edition of the Festival
52:37
de las Alturas. It comes from an activity that we are going to have
52:43
of artificial intelligence, which is a workshop that the director and the director of
52:46
this film will offer. Our two filmmakers and after they came to give the
52:52
workshop, offered the film and it seemed to us that it is the ideal
52:55
context to be able to project it and talk about this topic, which is
53:02
what is coming and are the new forms that we have been proclaiming already since
53:07
the eighth edition, in a new way to make cinema, the new ways
53:12
to develop and consume also that consumption of the spectators for the novelty and something
53:19
that is constructed completely with artificial intelligence. The truth is that there is also
53:22
a moment of reflection for filmmakers and film students. There' s no way
53:30
to incorporate this without losing the other one. Sure, well, there'
53:32
s the key. That' s not why he was saying he' s
53:38
probably going to wake up his polemics. Also the talk, the projection of
53:43
these already awakened them. Sure. Yes, of course good is that this
53:46
is also happening in the world, in Hollywood itself, where actors, actresses,
53:53
are questioned, especially that images with artificial intelligence are generated that replace them.
54:01
But, as you well say, it is almost impossible for this to
54:07
happen. They' ll have to end up living past me. I think
54:12
it is a bit, like what was proclaimed with television also when the platforms
54:15
arrived or with the cinema, when we incorporated into our life also on the
54:23
platform. I think we' re going to find a way to live together
54:30
and that artificial intelligence isn' t useful for intelligent, to be creative in
54:36
terms of economics, especially in this context of the country we' re in.
54:39
This one does. Well, Jimena Muñoz is the general producer of the
54:46
ninth International High Film Festival that will take place from April 6th to 13th.
54:53
Now, in a few days no more, a must- see appointment there
55:00
in Jujuy, a lot of envy, especially in these moments that the cinema
55:07
is going through very difficult situations and that, well, you generate this festival
55:12
and with all these activities and opening more screens and calling more public. My
55:15
congratulations. I send you a huge hug, a greeting to the entire festival
55:21
team and good with Jimena Muñoz. So we' re saying goodbye until next
55:30
Wednesday on a new radio audio- visual GPS broadcast here on Radio Train topic
55:36
live from 19 o' clock. Thank you for joining us and as we
55:43
say, you always know, but today more than ever you see Argentine cinema
55:50
until next week and thank you very much. This was GTs audio- visual
56:07
radio. We' ll be waiting for you next Wednesday at 19 o'
56:19
clock by radio thirty- three.