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GPS Audiovisual T05 P29- ENTREVISTAS LILIANA MAZURE, LUCAS TURTURRO, CANDELA VEY Y TINO PEREIRA; FERNANDO JUAN LIMA · GPS Audiovisual

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Audio- visual GPS radio every Wednesday at 19 o' clock. The protagonist
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is Argentine cinema. In Julia Montesoro' s eyes, a treasure, a
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program with a gender perspective that nucleates the country' s film industry. Argentine
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cinema will never be the one it is until now. We, from audiovisual
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GPS, continue to bet, striving for a culture as the fundamental pillar of
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a society, a culture that is plural, free, accessible, diverse and
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has State resources for its development. Welcome to Gp SE Audiovisual Radio, with
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the journalistic production p of Norberto chap En, the Gonzalo Sorais controls, the
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artistic direction of Jessica Bernardu and in the driving who speaks Julia Montesoro. Liliana
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Massure promoted in her management at the head of the National Institute of Film and
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Audiovisual Arts, the development of public policies based on the support of new filmmakers,
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the growth of Inca spaces and Argentine festivals, the creation of an Argentine
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audiovisual platform and the creation of Ventana Sur. We' re with Liliana Massure,
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starting a new radio audio- visual GPS broadcast. Welcome Luz, Liliana,
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a pleasure to be able to talk to you, also for me how
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Julia is, a pleasure with your fantastic program that you are always updating six
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years having us in rhythm with everything that is happening. So, thanks for
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inviting me, okay. Thank you so much for accepting this good invitation.
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In a matter of days, there were two situations involving a huge setback over
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what was being built institutionally. I am referring to the change of venue of
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Ventana sur mercado that we have just lost, one could say, and the
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departure of Fernando Juan Lima, president of the Mar del Plata Festival, who
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in a few more minutes, on the other hand, will be here in
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the studios of GEPS and audiovisual radio. In this scenario that arises in the
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Inca, there is a relationship between the two facts. Liliana yes, of
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course, are intimately related, as they are so intimately related to all the
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measures being taken, not the non- subsidy to the provinces, the end
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of the po to the festivals. In fact, the Inca is closed because
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at the moment the promotion plans do not work. The promotion is the engine,
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it is the heart of the INCA that puts it into operation and what
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gives it the sense to be, in addition to all the other policies that
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the INCA has to carry forward, such as international relations, co- productions
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and everything that takes over. An institution of the State that considers the audiovisual
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industry to be important, which is an important industry for that country, for
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the country, then everything is closely related. Of course I do. I
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heard about Fernando Juan Lima' s departure and good and everything that' s
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happening I' m aware of. Unfortunately, yes. Now Window South was
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created under your management and today you could say that it is easy to understand
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the importance of having a market, but fifteen years ago it was absolutely different.
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What did you see to boost South Window Look. I entered Lica from
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two thousand eight, when everything was still analog. Yes, then the cans
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came and went around the world, but we saw what was coming and we
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also saw that markets were taking on enormous importance more than festivals and within festivals,
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the most important thing was markets. At that time, for example,
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actors did not travel to festivals as much as to markets to sell productions.
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Of course, that' s the point. Then we decided that it was
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so important to have festivals as markets, that it was essential to have a
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market and above all a Latin American market, of course, the market that
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we had until that most important moment. At that time they were dogs,
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of course, Toronto, Milan, Berlin, Roberlin. It was important as
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a market, but not as much as dogs. And that was how important
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it was. And in those markets we find ourselves in those years, between
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two thousand and two thousand eight two thousand nine, with Latin American cinema quite
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abandoned. It was very difficult for Latin American cinema to occupy a place in
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those international markets, because it was time for the Orientals, the Orientals,
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the Koreans, above all clear, yes, yes, yes, then the
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Iranians. Then the Iranians began and it was very difficult until our own festivals
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that cinematography occupied a lot of place. It was clear that the whole issue
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of digitization came up and the whole issue of the transfer that the theme of
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the films was over was moving in another way, they were seen in another
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way. It wasn' t necessary. The screens in the halls are exclusively
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going to watch movies, but we had the famous stereotheques and so on.
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So that' s where we decided that we had to install a market with
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Latin America as a center and you say it And what I evaluated was that
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it didn' t give me my four years of management, which was what
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I had at the time destined to install a Latin American market. That'
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s when we associate with dogs. That' s where Bernardo Bergeret traveled with
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instructions to bring us acans as partners. It was the first time that meat
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left its territory yes, and it came to Argentina and everything went very well.
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We took care to relieve contact with all the Latin American ant producers,
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but we did it, the international team did it and we brought to the
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first South Window four hundred and fifty productions, which was what had been produced
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in Latin America in the last four years. And it was a brutal success,
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because in return for this, Canes fulfilled his responsibility that he was brought
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us in that year. I don' t remember how many they were,
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but there came about 300 buyers, among whom were the most important distributors in
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the world. The world changed a lot from that moment until now, but
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that was how Window South started. Yeah. Yeah, yeah, and the
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good market. I would add that the San Sebastián International Film Festival was also
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added, which today is strategic for Argentine cinema. It is a very important
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stained glass window with a very developed market, but well and so it was
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growing south window. Today you speak from territory, in the concept of audiovisual
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territory, not what scenario you see for INCA. No, for the inca
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a vislumbro for the next two years, a terrible scenario. I mean,
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the INCA isn' t working. They' ve destroyed everything because Fernando Juan
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Lima leaving the Mar de Plata Festival is the destruction of the Mar Plata Festival
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right now, because I don' t know why what' s right.
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You can put the director that management can decide to change the director, but
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it seems to me that it is not an injury of change director, it
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is a decision to change policies. We don' t know why they'
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re going to change it and who they' re going to change it for.
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And there' s no encouragement. We' re lost, not because
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we' re getting very complicated. We are complicated by production, we are
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complicated by production, because the Inca is the one who validates. The institutes
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of each country validate the productions. Then how is this. And besides,
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they' re looking at us. I am with a co- production with
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Spain and the truth is that the Spaniards are desperate. We' re going
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to end up with a Spanish majority and I don' t know Argentina.
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We' re seeing what we can bring in good. That' s what
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this is about you. If you' re working with Spain, you know
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better than I do then, but in fact, salt sebastian and forgiveness you
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did. But they just announced the two most important sections. One of them
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is Spanish cinema and there are two films that are Argentine by cast. However,
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they are listed as five Spanish. Of course because they stay with the
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majority of them because the film must be finished already, because both Spain and
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we start it and let them advance, because, if not, the film
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stops if it depends on us. Because, moreover, given the general situation
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here, making a budget is a chaos is a nonsense. We don'
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t know how it is. There is no financial security or legal certainty at
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that time. This is a mess. It' s really a disaster,
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it' s a catastrophe, it' s a tragedy we' re living
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through and we' ll see where we' re headed. Anyway, I
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think we need to think hard about what our future is. Where we come
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out of this enclosure, because exit we will find him and what are the
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tools with which to get out, given the reality of culture and audiovisual,
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in particular in Argentina and in the world. No yes, yes, well,
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just about that I was going to ask you that you are the person
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most able to talk about these issues in this scenario, where distribution and exhibition
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changed, where the platforms are in the middle, where there does not seem
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to be a spirit of regulation here in Argentina, regarding the management of production
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platforms. What that exit would be like, that is, what you think
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would be the way for us. This is what we have to think about
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and what you come reflecting on. I have no doubt about that. Yes,
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because it helps me the fact that this thing that I was telling you
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at the beginning I entered with an absolutely analog Inca, with an analog audiovisual
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world and when I left it was totally digital, which involved modifying the production
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formats, involved modifying the entire projection system in the halls and modified the distribution
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and the exhibition, because it went to display. I already, when I
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left the Inca, there were platforms. I mean, they weren' t
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fully installed anymore, but it was already installed. Yeah, I remember the
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whole cave scandal. I don' t know if you don' t remember.
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Yeah, yeah, yeah, yeah, you could see what was gonna
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happen. So I believe that we are now in a similar phenomenon in which
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we, the sector, this industry, must become aware of the national state
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which unfortunately is not in a position at this time, but at some point
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it will have to be directed and made aware that this is a mind-
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based industry. The market knows that. The market knows this because it has
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taken this into account and appropriated this. I mean, right now, I
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couldn' t be a scale of what' s the most important business in
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the world, but I think I' m gonna go between excuse words and
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comparisons, but between trafficking, arms sales, laboratories and platforms are among the
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most important businesses in the world, and the platforms that are the distribution of
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audiovisual productions. Yes, then it seems to me that we have to become
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aware, that we have to empower ourselves. We must not forget that last
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year a strike by screenwriters and actors and actresses that stopped the audiovisual industry in
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the United States. Don' t forget those facts. We have to empower
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ourselves and understand the power that we have as members and as those who make
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that industry possible, not and begin to behave accordingly. It is now clear
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that we need States to support us, otherwise we are easily manipulable. Let
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' s say if you' re going to mess with the Copyright Act,
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if you' re not going to regulate if you' re not going to
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regulate the platforms, if you' re going to regulate the display, if
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you' re not going to regulate the distribution, if you' re not
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going to be able to keep regulating the qualified work that the audiovisual industry means,
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it' s going to be very difficult to empower us. That'
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s the subject we have now. But we also need to empower ourselves and
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say we have this power. Yes, I would also say I don'
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t know what this one was thinking, but it seems to me that there
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should also be an awareness of the side of production and exhibition as to how
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to generate resources with those productions. It is not true, that is,
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it is a virtuous circle, also because we are talking about definitive commercial enterprises.
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Of course, yes, that is, an industry is based on economic
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resources as well and it does seem to me that Zapa is a little,
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a little neglected. No, that leg has been very careless in the last
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few years. Yes, of course, the fight was for the industry to
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declare itself. The audiovisual lasted from two thousand five to two thousand twelve.
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Just now. In January to two thousand and thirteen we had the law.
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Yes, we are going forward the same battle in the Province of Buenos Aires,
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with the law it generated, which was known to generate the industry,
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which was going to generate the promotion in the Province of Buenos Aires and we
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did not succeed. The law is now there in the legislature. But he
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doesn' t get out. Yesterday I saw that the audiovisual forum of the
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Province of Buenos Aires is with a whole campaign so that you leave also sanction
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you. So it seems to me that yes, we have to become aware
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of this and generate commercial circuits. We have to be able to generate.
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That was the goal of South Window, to generate commercial circuits, to question
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us. It is good that we generate new platforms with little audience or put
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the effort in general, the commercial circuit for producers and clear filmmakers platforms that
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have greater audience. That' s where I said this in public and looked
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at me very badly, but I think we have to break down all the
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prejudices and the whole border and be able to talk about these things. Yeah,
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understand where the world' s going. There are not also other markets
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that are understanding it Spanish speaking. I am referring specifically to Spain. Well,
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Liliana Massure, former president of INCA, producer, creator and manager of
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lots of public policies promoting Argentine audiovisual. Thank you very much for this contact,
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for giving us a little light on the facts and well we will return
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to the subject and surely to summon you. Thank you so much. Thanks
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to you. Julia Thank you so much to Norberto for the production, thank
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you very much for convening me. And besides, when you guys don'
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t cry, sometimes I read the news. No. No. No.
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No. Don' t cry, don' t cry, don' t
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give up. Never. We move on GPS audiovisual, radio, visions or
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missions, a destination of film, bet growth, doing little in the future
19:37
nature, diversity and professional passion is, industrial innovation, end a place all
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the stories, the egipril Mare broadcast. Until Sunday twenty- one is open
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the registration for the video and installation workshop and without expansion, dictated by Lucas
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Turturro at the Dack Professional Extension Center. The workshop will be held free of
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charge and registration is done via sep dack Orge. We are with Lucas Turturro,
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director and former director of multimedia space and television tech signal. How are
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you, Lucas welcome to audio- visual radio gps SE. I think you
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' re mutated because I' m not listening to you. Not there in
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front, not now. Yeah, well, what' s this installation and
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unexpanded video workshop about? What is the concept of exploring borders about? Well,
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a little personal. You know my film formations. I dedicate myself to
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the cinema, to the television series as well, but what happened many times
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between project and project to make a film or a series takes a lot of
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time, a lot of effort, a lot of money and there is a
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very big production work that for one who does a work also creative and artistic,
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Sometimes it is expendant. Then I began to introduce myself to some series
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of calls and back in the year two thousand thirteen, already a lot of
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years ago I got a scholarship from the Telefónica Foundation to do a workshop.
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It was actually a grant, a scholarship, a grant to make an interactive
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work or a work of my installation. And there I began to get into
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the world of what is visual arts, the world of installation, expanded cinema.
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Then I began to understand the difference between them or art, it makes
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me a new discipline beyond cinematographers or experience in the public media or in very
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interesting series, very creative and with possibilities very different from what happens in cinema.
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And well this workshop is a little sharing that experience and inviting people who
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have similar projects, whether they are film training or have training in visual arts
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or not. Just have the concern to sign up, to present a project
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and to work on a development. That project, I mean, it'
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s four meetings. We' re not gonna make it time. But if
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we' re going to try to find a development, start thinking immersively.
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I say think that an expanded cinema experience or an administration proposes a visitor instead
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of a spectator, it puts us through a space and make an immersive experience,
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rather than sitting a chair and seeing what would be the cinema, which
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is a window, a mint, that that does not forget the limits all,
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but it is a spectator that is at some point, put with the
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seat belt. We' re not there, we forget the world and see
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the window again. Well, it' s different from the viewer here.
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He is not a spectator, but a visitor who travels, who makes an
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experience, he has a germant if he wants to start, similar, but
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the experience is different. Now you have to have a project to participate in
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this workshop to whom it is aimed. The workshop is run. It'
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s the truth, it' s for everyone who' s interested and has
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an idea. It doesn' t even have to be a very developed project.
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You can have an idea or a little trigger. No. I remember.
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When I started doing my experience and my first installation self, I had
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the only thing on a question that was whether movies are like reality dreams.
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Movie dreams what are they? That was the only thing I had for a
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personal anecdote, that I woke up one day at three in the morning with
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an eight- and- a- half Fellini scene and I said in the
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cinema Well it' s not just a profession or my vocation, but it
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' s an obsession and dreams come to me and I started throwing that point
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and I made a life. My first installation called the inverted shadow, which
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compiles a hundred scenes of dreams. I don' t know from Fabio to
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Tarkovski, an Felini to Bueno. I don' t know Purosawa CNCN of
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sound and arm a collective unconscious of cinema And thanks to the tutoring at the
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time, Rodrigo och and Mariano Sardons and Fundación Telefónica who was the one who
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twisted the scholarship that I started to think that out there I didn' t
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need a screen, I needed more than one screen, that' s why
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not all the screens had to be horizontal. The screens go out to each
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other and arm themselves as an audiovisual orchestra. No, and then there are
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sculpting elements it' s like very interesting and very complex. At the same
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time it has no other complexities of cinema, but it has its complexities.
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They' re fascinating like the ones in the movies. They are not complementary
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languages. And well, after that I did after other good facilities. After
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that hys one that is called, for example, the weight of a stone,
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which also works with archive image, in this case not movies, but
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images of archives of the great fulneral homelands. I don' t know from
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cardel to néstor is a do for avoiding and they' re edited in a
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way like he' s a single dead, that' s as if all
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the dead patriots were one dead. Yes, and to this drawer that they
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walk through the city of Buenos Aires and bring it by plane or by boat,
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they walk it through the collection, never bury it. It' s
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an administration that works in loope, that is, it' s a popular
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raison d'être that has principles and never buries it. It' s
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like some kind of sisyph the mitosisc that mocks death. God punishes them good
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examples. This is open to multiple fields of interpretation. If you are guided
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by intuition or by any specific data you have, what you think will be
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the axis of the projects or ideas presented in this workshop look. There are
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already some enrolled, there are quite a few enrolled, luckily, so you
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have to hurry, because with limited quota and I have been drooling the projects
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and they are very diverse. What yes, I found out that it is
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also interesting is that many of them, not all, but many of them
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start as from very personal experiences, from personal experiences or family stories or from
26:59
spaces that have been avoided that are everyday. I think that' s very
27:03
interesting. Why does my installation or expanded cinema dialogue with the exhibition space,
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with the room does not adapt to the different spaces, usually, but it
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is also a dialogue with the space, unlike the cinema that the film is
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the same, Be the room that it is? Yeah? Yeah? Yeah?
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Yeah? Yeah? Yeah? Well and what is your goal with respect
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to those projects that are presented at the Workshop. What would happen, what
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would happen next? Ideally, each participant of the workshop will take to the
27:44
end of the workshop a dossier of his project developed, that is, that
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you finish with the Workshop, with your project, with an advanced development stage,
27:52
with a dossier where you can present it to calls, to contests,
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to foundations, to cultural spaces. I' m saying that you stand by
28:03
and that you say good to a juror that you can tie him up and
28:08
develop him and produce aha well, nothing more or nothing less. Okay.
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Lucas Turturro, director and teacher, is in charge of the Video, Installation
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and Expanded Cinema Workshop that begins on Monday, July 29, for reports and
28:26
inscriptions that were few vacancies. You just said it, Lucas, you have
28:30
to log in to the CPAC link. Sep dack Org. It was c
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with house letter c. Sep dack Org. Lucas, thank you for joining
28:45
us. I am sending you thanks to you to open up the truth that
28:48
always accompanies everyone. We tried. Thank you. We' re still on
28:53
radio audio- visual GPS. Thank you to Craft. It can be if
29:11
you know about the girl who came to yesterday. Maite' s sorry he
29:18
' s looking for Daniel The lifeguard isn' t drowning someone. Yeah,
29:22
I' m all the same. We all have the same thing on the
29:33
way. Three years or song. Say something' s gonna change my life.
29:49
A wreck a Banina movie is a wreck. Premiere in Salas 27 June.
30:10
Candela b will inaugurate the Festival of Latin American cinema of Trieste, which
30:17
will take place from 13 to 20 October, with an advance of Blasta Apuntes
30:22
for a documentary project of feature film in progress. Together with Tino Pereira,
30:30
they are co- authors of Por ser mujer, the first biography of the
30:37
pioneer director, Blastala, Candela and Tino are here with us on GPS audiovisual
30:44
radio. Thank you for coming with us. Thank you. Well, what
30:49
is Blasta Apuntes' presentation going to consist of for a documentary at the Sad
30:55
Festival. Well, actually, for a documentary. It is the short film
31:03
that I presented at the Women' s Festival and the cinema that won the
31:07
film award. That' s part of what was filmed for the smallest film,
31:14
much like perhaps the workin progress dressed in silver sea in the twenty-
31:19
second year. Well, a little bit is also for him to go looking
31:26
at this material and to keep moving forward. In finishing the film, the
31:33
programmer of Sad was very interested already many years ago, somehow paying homage to
31:38
a fells had as reference to us that we would be writing this book.
31:44
And, well, in the end, now we arrange somehow good to open
31:48
the festival, do a little tribute to Blastala and, somehow good to go
31:53
there to the markets and start seeing if we can get the money. To
31:59
finish the film. It' s just that today the Inca is closed,
32:04
so it has all our subsidies or retained. So, well, the truth
32:07
that the specific question is there' s going to be a little bit of
32:14
the forwarder that' s going to be the film aha, aha, well,
32:19
but in that stained glass window of the festival and at the opening,
32:23
besides the Latin American Bero Film Festival of Trieste, now that' s just
32:30
a good reference to that short that was also presented and that at the Women
32:35
' s Festival and the cinema, besides, what are the documents and testimonies
32:44
that were added from the knowledge of that short and the book itself. Well,
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a lot, the truth is research is like a constant. In fact,
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we always fancies almost since we finished the book already as a second hungry
32:58
edition, because we were discovering more things, quite more things, and now
33:05
we have enough material really to both add to the film and for a possible
33:13
second division of the book we are also seeing to do it in Italian guitar
33:17
sa in Italy more than anything in relation to his last years, which were
33:24
a mystery and continue a little without a mystery, but a little we find
33:29
things that he sees more than anything of those last two years of his life.
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From good response we found. Your son is my profuse and very heartfelt.
33:38
It was also very interesting because there sailing as things she felt at the
33:45
time and also a desire to still make movies, even a little before anyone
33:51
else. It' s super interesting to us, because it was always a
33:55
question that we had good filming, if it was because I didn' t
34:00
want any better. A lot or so, and a little bit that we
34:05
' re now able to reveal that. Aha good the book. We'
34:09
re not going to spoil how you say it, but the book made quite
34:16
light on this woman and her work. Not now he' s writing notes
34:22
for a documentary. It' s a candela project at what time, what
34:29
' s your involvement Not in this project and what led you to decide that
34:34
I was just a director. Well, actually, the project is, like,
34:42
every project we do not together. There' s a lot going on
34:50
and I write the scripts. We' re investigating together because you' re
34:53
a historian. That I also do research then, like we work enough or
35:00
the Blastala theme, as it was born from a need of mine, of
35:07
good seeing the subject of the pioneers of cinema and I also feel good in
35:10
this world of cinema in which still, although much progress has been made,
35:17
there is still a difference. There' s still no good, it'
35:21
s not in the fifties, so a little bit the idea was that.
35:24
Well out there make this difference and that direction is given to a woman.
35:30
But anyway, we' re in two, in all these projects, both
35:36
in documentary film and what we' re going to finish. This is short
35:39
that we made now specifically for women and cinema, and it' s the
35:44
same one that' s going to happen there in Trieste and the book we
35:46
did as well. The truth is it' s a very big job that
35:53
we did to have heard that ten jistenus us to this forgotten figure. But
35:59
at the same time, there are a lot of people back there who also
36:01
collaborated. Today we have contact almost everywhere in the world for the subject of
36:07
this Blascala family. There were people in Australia, people in Italy, people
36:12
in Argentina. Researchers, researchers have helped us and collaborated. So, well,
36:19
we' re the visible faces. Capridad that all the work with a
36:24
lot of collaboration. Okay. Next Thursday, August one, then it'
36:30
s going to be the presentation of being a woman, Blastala' s biography.
36:36
This is gonna be Dack. It is an activity driven by gender Dak
36:42
They had planned the book to be a film. It' s actually the
36:50
other way around. We never think that the film is going to release a
36:55
book and that the book has as much recognition as the one it is.
37:00
We decided to do the book while we were thinking about making the movie.
37:07
It was so much what we found in a moment after so much liking that
37:10
we said. It seems to me that this is necessary that in the academic
37:14
field, in the field of research, the scope of the people that interest
37:16
you, the history of cinema is also in Invibo if, in reality the
37:22
book is born after and today the journey is more visible is in the book.
37:25
But there' s a movie first, of course, well, all
37:30
together and it' s headed for what Candela b and Tino Pereira look like.
37:36
Then, on the first of August, at 18 o' clock they
37:39
present the book for being a woman in Dak This is in vera five,
37:45
five nine as an activity of genre DAX and on the 13th of October it
37:52
opens at the Latin American Film Festival, Latin American trieste with this short and
37:59
is the advance of this long promise. I brought myself to hope you can
38:01
congregate soon. Thank you so much for joining us. We' re still
38:07
on GPS audio- visual Radio Hello. Pablito I' m look you remember
38:16
me it occurred to me as a big idea, which is to get the
38:21
band together watch Anda. Please, I think you should apologize to the authorities.
38:25
What are you talking about, right, and then they pass. You
38:28
saw what they look like here, but you did hear what those girls said
38:31
about the Chinese harassment that rat said if your husband. What do you want
38:36
a thirteen- year- old chick while they' re stalking, taking pictures
38:38
of herself so he has proof to keep her quiet? Why did you stop
38:43
singing? I don' t know things about life. Good. Thank you.
38:52
I know that Miranda from Friday to Monday, a film by Maria Victoria
39:05
Menis starring Inés. Esteves premiered exclusively in theaters, Fernando Juan Lima stopped acting
39:28
as director of the Mar del Plata International Film Festival. The political decision was
39:36
not to continue in office. He expressed the then responsible for the sample on
39:43
his own social networks, as there was no official communication about it. Currently,
39:49
the festival, four months after its realization, has no director. He
39:54
doesn' t have a director. That' s how simple we are here
40:00
in ge PS audio- visual radio with Fernando Juan Lima. Thank you so
40:05
much for joining us and good for this space you are giving us. Please,
40:10
it' s a pleasure. You know I always love talking to you.
40:14
We' ve talked a lot of times about a pile. I don
40:15
' t know if you' ll keep inviting me. So it just comes
40:17
you saw presence instead of over the phone zooming as usual. That' s
40:22
great. Well, what were the essential themes that changed from last year'
40:29
s festival to this one, by the way, was made in fairly limited
40:35
conditions the last edition of Mar del Plata and that, well, decided your
40:40
departure the festival. As you incis have long been having problems, especially budgetary
40:45
ones. We' re going through very difficult circumstances. I was struck by
40:52
pandemics for an almost completely virtual year, another that with much struggle could be
40:59
done in the Mar de Plata, but in fact, the position of the
41:01
Film Institute was to do it or virtual or in the city of Buenos Aires,
41:06
which I found unacceptable. But at the time there was someone with whom
41:09
it was difficult to argue, but who thought that if there is a president
41:14
of the festival it is to give him some ball and that his opinion is
41:19
interested in something. Lately, the truth that soba is happening or it was
41:23
happening from least to least. And it is also true that something that is
41:28
happening too long ago is that all the appointments at the Institute are complacent,
41:35
which were six months later were three. Lately there are people who are working
41:42
for the festival in production, who renew it or not designation per month.
41:47
It is very difficult to work like this when you pose many of the things
41:52
that are not being done or are being done wrong. When you raise things
41:57
that are unacceptable, such as, for example, that you communicate the extension
42:00
of the registration of films without consenting to the date with artistic or with Presidency.
42:07
And in the press release it is through the link networks and in the
42:09
press release it is referred to that it is done by fulfilling the mandates of
42:15
President Mira and that the films and the jurors will be chosen by the Film
42:20
Institute, not the festival. I think it' s something that needs to
42:24
be raised and if you don' t, as you propose or with me,
42:30
don' t count, you don' t need me to do that.
42:30
I' m not going to do that and at the next meeting I
42:35
was told that when my appointment deadline expires, which I think is 19 July,
42:38
with what WEl strictly I think I' m still there. I'
42:45
m not going to be extended by this appointment. And well, I think
42:51
we should say it not because you own anything. I' ve always tried
42:57
to do my best. I think it' s obvious that what the festival
43:02
means to me, because I' m sure the festival means a lot to
43:07
Argentina, to our culture, yes, so I always put it as best
43:14
I could, but I' m sure you' ll find someone in condition
43:20
and better yes. I think we should be very careful about the festival.
43:22
It is also a political fact and has proved it and sometimes there are certain
43:28
limits. Yes, but it can never be a partisan fact and I think
43:31
it is very important to preserve the independence of the festival. Independence, diversity
43:37
is a place of debate, of criticism, of encounter that is not to
43:40
lower line, It cannot and must not do it for any side in festival,
43:45
in rule of law must go forward Government and that in governs the country,
43:51
the government that in the government of the Film Institute. Now, in
43:55
these conversations from the first to the last, with the current authorities of the
44:02
National Film Institute, what fundamentally changed about the festival is the programming criteria,
44:12
in addition to ignoring the team. And all of this is a very important
44:20
adjustment, more importantly. The festival is done with people who work all year
44:23
round. What time now is much less yes, and people starting to hire
44:29
from June, July, August, September, as they approach the festival and
44:35
there they enter. I don' t know from who rumming guests to press,
44:40
for example, the press of recent years have had really excellent professionals,
44:45
who have been paid little late and badly and continue because they love the festival.
44:50
But the truth is that it is on the verge of the unworthy treatment
44:53
they have had and that is not assured. That' s not insured.
44:59
Then there are changes that have to do with the winner of the election and
45:05
that one may disagree, but they are one of the options, that is,
45:08
that they have to pay to sign up the films to participate in the
45:14
festival, even in the Argentinas. It' s something we opposed, but
45:17
it' s one of the possible options. In many festivals this happens and
45:21
there is always the possibility that there is a wave or something like that.
45:24
That one can share, no, but it' s one of the options.
45:28
The same is true if financing has to be absolutely public or you can
45:31
add the private. It' s another possible option. What is not an
45:36
option is to do or not to do the festival. What is not an
45:39
option is to get into how movies are chosen or how jurors are chosen.
45:45
That' s not optional, because if you cross those boundaries, you'
45:49
re doing something wrong. Sure good how you dropped the announcement the comment of
45:58
the Head of Government of Mar del Plata regarding the NETFLIX Festival. At the
46:05
time he spoke with the culture secret of the municipality of general. May Redon
46:10
I assumed that I keep thinking about what it is simply about this need to
46:15
communicate for my own audience. I believe that a NETFLIX festival is something unacceptable,
46:23
impossible, inconvenient, intolerable for the festival and for Netflix, because it
46:30
speaks, among other things, of the lack of knowledge of everything that the
46:34
festival has been working with Netflix. The festival had as closing films the Irish
46:40
parallel Mothers, last year, Netflix brought Bayonne Wine Netflix people to watch the
46:47
festival and was delighted with the festival And the festival does not care about a
46:53
festival that Netflix does not care about a festival that can buy what it needs
46:58
is the company of a prestigious festival that can shed light on a part of
47:04
its production, that has that look, there is another one that never.
47:09
That' s where it' s gonna take place at the festival, and
47:13
they probably know it. And it is an understanding between different institutions that can
47:19
carry out activities that suit them. Both say, a Netflix festival is a
47:24
based bar that surely has to do with the need to communicate and generate a
47:30
headline and that' s where it' s thought of almost as a butad
47:37
to draw attention. That is, it used to be a festival anchored almost
47:43
exclusively by the state. We want a festival with more openness towards the private.
47:47
It' s one of the options. It must be done with a
47:51
little more elegance and thinking that what justifies the festival is its essence. Its
47:57
essence has to do with this patent that makes cultural diversity, the defense of
48:00
the culture of the national one and, of course, to establish a logical
48:07
relationship also with the platforms, which was already happening and I hope it will
48:14
deepen. Yeah. Yeah, yeah, yeah. Now, you were just
48:19
talking about the integration between the public and the private. You don' t
48:22
know better than I do, because you' ve also been to large-
48:30
scale international class festivals where just the synergy between public and private is almost the
48:38
basis of existence. You think it' s possible here in Argentina I model
48:45
you. I think so. I think so. I think you have to
48:49
think about those things. I think we' ve been shrinking for so long.
48:53
I think what happens is we have to do it from somewhere else.
48:58
If you start a negotiation by saying I want the Netflix festival, it seems
49:02
to me that after there is little to negotiate. I think that, in
49:07
fact, you have to do a festival and there are certain flags that you
49:14
can' t throw away and while that serves some private people if you add
49:20
more funds and more activities and the possibility of more activities. If I think
49:22
it can be done, I think we need to stand up seriously and not
49:27
deliver everything, even the principles, without any change, but I think we
49:32
can come to reasonable understandings that would have to do him well, because there
49:37
is something that really happens in what has been done in the Mar de Plata
49:40
special in recent years. It' s some prodigious point. If one compares
49:45
budgets, because sometimes one says no, why does St Sebastian make this,
49:49
why in such another festival, in the other the other compare budgets. We
49:55
' re thinking of budgets multiplying by ten or twenty of what we have access
50:01
to here. There really is a huge job of so many people who deny
50:08
this idea and this common place that state workers do nothing. There' s
50:15
everything. I can tell you people from the Mar de Plata Festival, who
50:17
really break their souls on the edge of unworthy because they love the festival so
50:23
much, that it is very easy to exploit, because if they don'
50:30
t pay them, they will do the same, because it protects the festival,
50:32
which I also take care of. Sometimes you pass up some things thinking
50:36
that you have to protect the festival. Last year, that was very evident
50:43
from people who were working and performing a huge activity yourself with zero budget.
50:52
And zero is not only a matter of money, also of resource availability,
50:59
other types of network courses. I' m something I' ve been saying
51:04
and I insist I don' t personalize it because I' m sure the
51:07
festival will follow. It' s going to be November 21st. December 1st.
51:08
I hope you find people who can follow this path, which has to
51:15
do with freedom, with freedom, with diversity, with a profile of the
51:21
festival that I think has a lot of recognition in the world. But it
51:27
is also true that one thing that I repeated, if we do not have
51:30
money, at least we have predictability. Let' s say because if you
51:36
don' t have that much budget, if you have predictable things, that
51:39
is, you don' t have appointments for a month, two months,
51:44
three months, six months, but you can know that on that date you
51:49
' re going to do such a thing, you can supply what you lack
51:52
money with another kind of work as well. Be four months of being the
51:55
festival, we still don' t have any coordinates, but it was the
51:59
same last year and the previous year, etcetera. It is also much more
52:02
difficult, which speaks of importance the festival, because so everything. I really
52:08
think we' ve had very good editions and you see even how they'
52:15
ve increased the number of films they' re signing up for, as they
52:21
' ve increased the number of world premieres at the Mar de Plata Festival.
52:22
As many figures want to come without us being able to pay for the tickets
52:28
many times and want to come because they know what the Mar de Plata Festival
52:30
represents and because it has that real component of that loving public festival that sits
52:37
on the streets of halls full of Qan Ay, which extend for hours and
52:40
hours until people have to be thrown out of the halls. You don'
52:45
t buy that. Done, that is built and there is a team that
52:49
many years ago has been working, that I am not talking well about me,
52:53
a team that precedes me by much and that works much more and better
52:57
and that has been working for more than ten years, and that has to
53:00
be taken care of. In that the state invested a lot and it is
53:06
good, it is good for our festival, that has to be taken care
53:08
of. Fernando Juan Lima, thank you so much for your enormous work at
53:16
the head of the Mar del Plata International Film Festival. Thank you for this
53:22
interview. And well we will find in our preferred place a cinema room,
53:29
surely, of course, and always with the Film Festival of Silver, which
53:32
will continue as our cinema, that we always have to fight and deserves it
53:38
yes, just good. With Fernando Juan Lima in our studies we are saying
53:47
goodbye until next Wednesday. Thank you for joining us and you know, as
53:55
we always say, but today more than ever see Argentine cinema until next week.
54:17
This was GPS audio- visual Radio. We' ll be waiting for
54:30
you next Wednesday at 19 o' clock by radio thirty or thirty.