WEBVTT 1 00:00:07.919 --> 00:00:14.039 PS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema. 2 00:00:15.320 --> 00:00:19.440 In Julia Montesoro' s eyes, a treasure, a program with a gender 3 00:00:19.519 --> 00:00:46.359 perspective that nucleates the country' s film industry. Argentine cinema will never be 4 00:00:46.439 --> 00:00:54.640 the one it is until now. We, from GPS Audiovisual, strive for 5 00:00:54.799 --> 00:01:03.200 an Argentine cinema, for an accessible culture, plural diverse, for a cinema 6 00:01:03.400 --> 00:01:10.959 that identifies us all, that reflects us and for a culture that has the 7 00:01:11.120 --> 00:01:18.879 support of the State to continue and for the development of all Argentines. This 8 00:01:19.079 --> 00:01:25.560 is GPS Audiovisual Radio. Welcome to Norberto chap' s journalistic production and driving 9 00:01:25.640 --> 00:01:36.159 by Julia Montesoro. Guillermo Fennin is the co- star of the impacted the 10 00:01:36.439 --> 00:01:42.239 drama directed by Lucía Puenzo with Mariana de Girolamo Germán, palaces osmar Núñez and 11 00:01:42.319 --> 00:01:49.480 Moor An Gilleri, among others, that addresses a rare topic as it can 12 00:01:49.560 --> 00:01:57.239 in what way the impact of lightning can impact in this case, not on 13 00:01:57.359 --> 00:02:04.879 a person, not only in the Fijossi, especially in the emotional. We 14 00:02:05.200 --> 00:02:10.719 ' re here at the radio studio train topic, on GPS audio- visual 15 00:02:10.919 --> 00:02:15.879 radio with Guillermo Fening. Welcome and thank you so much for being with us. 16 00:02:15.000 --> 00:02:21.520 Williams good, good afternoon, good evening to all. Well, the 17 00:02:21.520 --> 00:02:30.960 hit ones. It tells a story that can square as in various forms in 18 00:02:30.039 --> 00:02:36.360 different genres. It can be for fantastic moments, it has some documentary, 19 00:02:37.879 --> 00:02:42.520 it has something here was Lucia Puense even said it could be a superhero movie. 20 00:02:43.360 --> 00:02:49.240 It' s a love drama of all those readings with which you stay, 21 00:02:49.520 --> 00:02:54.080 William, I think it' s a yes. He' s getting 22 00:02:54.120 --> 00:03:01.039 closer to fantastic realism. I' d like to think about it that way, 23 00:03:01.199 --> 00:03:06.599 but I think the interesting thing about the film is two things and like 24 00:03:06.599 --> 00:03:10.120 two branches, yes, the protagonist is struck by lightning and that generates a 25 00:03:12.159 --> 00:03:19.759 lot of physical consequences, whether it' s visual sounds, even her sexual 26 00:03:19.759 --> 00:03:24.199 appetite changes becomes more voracious. But also not only does the film talk about 27 00:03:24.199 --> 00:03:28.680 that, but it talks about how one reconfigures in terms of his past and 28 00:03:28.680 --> 00:03:31.800 the things that happened to him. The protagonist suffers from a very big girl 29 00:03:31.879 --> 00:03:38.039 trauma and what' s wrong with her. And it can be lightning, 30 00:03:38.080 --> 00:03:40.879 but it can be an accident, it can be someone' s death, 31 00:03:42.000 --> 00:03:45.080 it can be whatever it is that you in life reconfigure it. I think 32 00:03:45.120 --> 00:03:49.360 the film talks a lot about it for me, about how before we end 33 00:03:49.360 --> 00:03:58.439 situation, shocking we don' t have to reconfigure and we' re no 34 00:03:58.439 --> 00:04:02.240 longer the same now you. At some point you felt good, symbolically speaking, 35 00:04:02.400 --> 00:04:11.240 not pierced by lightning that made you reconfigure your path. Yeah, yeah, 36 00:04:11.400 --> 00:04:14.960 yeah, okay. I had a pretty traumatic situation, which is suicide 37 00:04:15.039 --> 00:04:20.160 my mother and I found my mom dead then that was really like a me 38 00:04:20.319 --> 00:04:24.399 look now that I remember it, it was like an electricity in the body 39 00:04:24.399 --> 00:04:27.959 when I saw what I saw and at the same time it was a release 40 00:04:28.040 --> 00:04:30.959 for my mom. He was a person who was already struggling a lot with 41 00:04:31.079 --> 00:04:34.360 life and with a very fucked- up psychiatric illness. Then I was looking 42 00:04:34.399 --> 00:04:39.399 after her then and I was young, very young, to take care of 43 00:04:39.399 --> 00:04:43.720 so much. Then, at that moment I was reconfigured, but not to 44 00:04:43.879 --> 00:04:50.240 one distressing side, but to one side of liberation. You ask me, 45 00:04:50.319 --> 00:04:56.199 I answer you, no good, perfect, but I say the movie has 46 00:04:56.480 --> 00:05:00.120 that reading too. Totally this one ended up that well, well it can 47 00:05:00.240 --> 00:05:08.000 be seen as this we said, not a fantastic tale at times, a 48 00:05:08.000 --> 00:05:13.720 loving drama. But deep down and very deeply, he talks about this, 49 00:05:14.000 --> 00:05:18.040 not how to reconfigure ourselves in life. Yes, yes, I think it 50 00:05:18.079 --> 00:05:25.959 ' s a very very human film, which talks about experience, feelings. 51 00:05:26.000 --> 00:05:28.720 I don' t know what that genre would look like. I really think 52 00:05:28.759 --> 00:05:32.199 why? Because all the movies. In reality, all films are always traversed 53 00:05:32.199 --> 00:05:36.759 also for a loving conflict. It seems to me that the love conflict here 54 00:05:36.759 --> 00:05:40.319 is not. It seems to me that what really happens to the person has 55 00:05:40.360 --> 00:05:44.639 to do with this character has to do with his reconfiguration and with his past 56 00:05:44.839 --> 00:05:48.240 and how else he will decide to live now. Anyway, we also attended 57 00:05:48.279 --> 00:05:53.680 a person in a very traumatic state, very shocked still by what happened to 58 00:05:53.680 --> 00:05:59.839 him then all that is a movie that you see good sometimes in the cinema, 59 00:06:00.079 --> 00:06:02.160 for example, and suddenly you' re inside one that you don' 60 00:06:02.199 --> 00:06:05.319 t know well where it will end, because the sound wraps you and suddenly 61 00:06:05.360 --> 00:06:10.279 she puts the uros, plugs in and makes a small noise that isn' 62 00:06:10.319 --> 00:06:13.600 t that it' s already and all the people jumped in the room because 63 00:06:13.680 --> 00:06:16.720 you' re so inside the movie. The film takes you, immerses you 64 00:06:16.920 --> 00:06:23.800 in images and sound with an incredible technical bill, as always work the Puensos 65 00:06:23.920 --> 00:06:29.920 Lucia Poenso and his brothers that the truth nothing. I, when I saw 66 00:06:29.959 --> 00:06:32.279 her there, was grateful that we' re releasing this movie right now. 67 00:06:32.360 --> 00:06:42.040 Good, too. The cinema of Lucía Puenso is never comfortable and the characters 68 00:06:43.759 --> 00:06:50.759 also have complex edges to build it. For an actor, for an actress, 69 00:06:51.120 --> 00:06:57.000 it' s a job, a powerful challenge. In the case of 70 00:06:57.160 --> 00:07:00.319 Jano, your character, who is the husband of this protagonist, who does 71 00:07:00.439 --> 00:07:08.959 not understand very well what is happening to her partner. You how you worked 72 00:07:09.079 --> 00:07:14.639 this, from where I have always recorded the joke to Lucía that when we 73 00:07:14.639 --> 00:07:20.399 are going to make a romantic comedy, because always and I also tell her 74 00:07:20.439 --> 00:07:24.000 she go two films in which they put my horns, I say the next 75 00:07:24.079 --> 00:07:30.079 one, I piro metro me and it is always Germán palacesothers, because in 76 00:07:30.680 --> 00:07:40.519 Chromo also fooled me and also I hano imagined it. I also tell the 77 00:07:40.560 --> 00:07:44.639 story begins with her fifteen days ago my partner, who is in hospital sleeping 78 00:07:44.639 --> 00:07:46.439 in a hospital, and I imagined that those fifteen days I was there in 79 00:07:46.439 --> 00:07:50.279 that room. Then I started putting the character together with a bad asleep guy, 80 00:07:50.519 --> 00:07:57.439 in a bit emaciated at first, like with a heaviness that didn' 81 00:07:57.480 --> 00:08:01.399 t know what was going to happen to his wife. It' s like 82 00:08:01.399 --> 00:08:03.360 he' s, like, a good guy, a guy who' s 83 00:08:03.360 --> 00:08:07.240 very leaning on his partner and a half that if he was done with that, 84 00:08:09.079 --> 00:08:16.040 he was really gonna have to reconfigure, too, so I put it 85 00:08:16.160 --> 00:08:16.519 together from there and then there was something that was a little bit warm, 86 00:08:16.519 --> 00:08:18.240 too. He as far as he let himself, at least let himself be 87 00:08:18.319 --> 00:08:22.560 bribed by his partner' s father. Well, for certain things that happen 88 00:08:22.600 --> 00:08:28.240 in the movie and at the same time she wants to know what' s 89 00:08:28.360 --> 00:08:33.559 happening to her, then she tries to insist on something where she' s 90 00:08:33.559 --> 00:08:35.879 not watching it. He is, as he is, a very ungrateful character, 91 00:08:37.240 --> 00:08:41.120 also because you saw. He' s a character with good intentions, 92 00:08:41.480 --> 00:08:43.279 but there' s nothing on the other side now, that is, the 93 00:08:43.360 --> 00:08:46.480 person who was on the other side is gone. He does not know that 94 00:08:46.840 --> 00:08:50.120 person and that person does not know him. So, well, if you 95 00:08:50.159 --> 00:08:56.720 want to accompany, but you know very well, very well how, how 96 00:08:56.080 --> 00:09:00.960 exactly this is the major conflict of Faraway. It' s not true of 97 00:09:01.519 --> 00:09:07.799 that character and you what attracted you to the proposal. It brings me here 98 00:09:07.840 --> 00:09:11.440 as long as Lucia calls me to work. I always know it' s 99 00:09:13.879 --> 00:09:18.320 a good, incredible adventure, that I always know that it' s beyond 100 00:09:18.399 --> 00:09:20.000 that obvious that I gave him the script and I gave him the script and 101 00:09:20.120 --> 00:09:22.200 I said yes, I told him they' re going to horn me again 102 00:09:22.200 --> 00:09:28.759 for the second time. But, okay, we don' t and in 103 00:09:28.799 --> 00:09:31.720 this case we film here very close, but whenever Lucia invites you to work 104 00:09:31.759 --> 00:09:35.480 on her projects, you travel to Argentina and you go to a lot of 105 00:09:35.519 --> 00:09:39.039 amazing places. Well, in this case it was here in Gaynor, which 106 00:09:39.080 --> 00:09:46.519 is a town here in the province of Buenos Aires, in a field and 107 00:09:46.519 --> 00:09:50.000 the truth that attracted me to return to work with Germán, with Mariano and 108 00:09:50.039 --> 00:09:52.039 Jirolamo, who had seen her in Emma, that I told her the film. 109 00:09:52.080 --> 00:09:56.440 I didn' t like it, but I liked you. You' 110 00:09:56.519 --> 00:10:00.639 re an amazing actress. Yes, yes, it' s very good Mariana 111 00:10:00.679 --> 00:10:03.960 and good and after you know it' s a film that also has an 112 00:10:03.039 --> 00:10:05.399 international projection that is also going to be seen on platforms. We were at 113 00:10:05.399 --> 00:10:11.039 the San Sebastián Festival, a festival I didn' t know, which I 114 00:10:11.080 --> 00:10:13.000 loved meeting friends, and cinema is part of as a family. Lucia also 115 00:10:13.120 --> 00:10:16.240 works in a very familiar way and her people are repeating themselves on all teams. 116 00:10:18.440 --> 00:10:22.279 I could do it. I was here in Buenos Aires, let' 117 00:10:22.279 --> 00:10:26.279 s do it all, there was everything and what you knew about lightning until 118 00:10:26.279 --> 00:10:31.279 you got this story. Well, I didn' t know much, I 119 00:10:31.279 --> 00:10:33.440 mean a lot. I found out about things I couldn' t believe, 120 00:10:33.480 --> 00:10:35.919 like it' s very likely that lightning struck you once, impacted you twice 121 00:10:37.000 --> 00:10:43.240 because of the burden you have left on your body. I did know some 122 00:10:43.240 --> 00:10:48.039 things that are sensitized at the auditory level sensoryly, but not much more. 123 00:10:48.840 --> 00:10:52.480 I love lightning, I love storms. I am such a person of rain, 124 00:10:52.799 --> 00:10:56.799 of days of rain and storm. I like it. I am not 125 00:10:56.799 --> 00:11:00.879 to marry to go out and hunt lightning, but if I like it the 126 00:11:00.960 --> 00:11:03.720 same in storms, I stay in the street, because I have you alone 127 00:11:03.799 --> 00:11:09.080 in the trees. I' ve even seen trees falling in the city of 128 00:11:09.080 --> 00:11:13.720 Buenos Aires by day without wind, so imagine with wind, so my fear 129 00:11:13.720 --> 00:11:18.720 is the trees, the rays. Aha well you were born in Marco Juárez, 130 00:11:18.159 --> 00:11:24.960 in the province of Córdoba, which is an eminently agricultural, soy farming, 131 00:11:24.759 --> 00:11:30.879 flat, pampa, humid place. Yes, and this character you make 132 00:11:30.960 --> 00:11:37.039 has a lot of knowledge. You brought that knowledge to work this character, 133 00:11:37.080 --> 00:11:41.759 because you really see yourself on the screen at times. I made this kind 134 00:11:41.960 --> 00:11:46.080 of outlaw out of the field. He lived in the country all his life. 135 00:11:46.440 --> 00:11:50.720 He knows how to milk cows. Sure, not good. I' 136 00:11:50.759 --> 00:11:56.799 ve had contact in the field, not from my close family and cousins that 137 00:11:56.879 --> 00:11:58.279 I' ve gone from Chico, I' ve gone to friendly fields. 138 00:11:58.440 --> 00:12:03.279 I really like the country. I like animals much more than people do. 139 00:12:03.440 --> 00:12:11.120 Then I love animals. Then we went with Lucía two days to prepare and 140 00:12:11.159 --> 00:12:16.480 there to be with the calves and all the animals when they are babies and 141 00:12:16.639 --> 00:12:22.240 the big ones too and to enter the tamboo, which is not a situation 142 00:12:22.440 --> 00:12:26.559 for an idyllic, because suddenly you shit in the face cows Here it is 143 00:12:26.559 --> 00:12:31.440 simple. Then nothing. The field I like, has something, a mystic 144 00:12:31.600 --> 00:12:37.639 and an even smell that I like and it seems familiar to me, but 145 00:12:37.320 --> 00:12:41.720 I didn' t know anything about ordinating a cow, for example, I 146 00:12:41.759 --> 00:12:46.320 had once ordered hand, but here it is with all this industrialized. Yes, 147 00:12:46.840 --> 00:12:50.720 yes, it' s very macabre, also how the cows suffer, 148 00:12:50.799 --> 00:12:54.480 of course, how the udders leave it, all clear, very sad, 149 00:12:54.759 --> 00:12:58.639 well, but you had to overcome all that too, because this man who 150 00:12:58.639 --> 00:13:01.759 loves yes, yes, of course, passes all those clear questions, of 151 00:13:03.519 --> 00:13:09.120 course, at that moment no, but then you suffer there now, well, 152 00:13:09.840 --> 00:13:13.200 you work in cinema and you made the step to the series. This, 153 00:13:15.960 --> 00:13:20.919 too, is already as definitive. Let' s say you' re 154 00:13:20.960 --> 00:13:22.240 more attracted to the world of series. No, not the movie one. 155 00:13:22.679 --> 00:13:26.639 No. Not at all, because you even worked in Spain. Yeah, 156 00:13:26.720 --> 00:13:31.799 yeah, yeah, no. At one point it seems that the show was 157 00:13:31.799 --> 00:13:33.200 what the world was going to eat. I don' t know now. 158 00:13:33.200 --> 00:13:35.919 Now I don' t think it' s going to be a show or 159 00:13:35.919 --> 00:13:39.559 a movie. A while. What are we gonna do, Julia, what 160 00:13:39.600 --> 00:13:43.279 are we gonna do, I don' t know, we' re not 161 00:13:43.279 --> 00:13:46.360 all asking. We' re not doing a finance program. I don' 162 00:13:46.399 --> 00:13:50.200 t know why we' re not going to finish, well, but the 163 00:13:50.200 --> 00:13:54.240 thing is that in Pandemia the platforms exploded and well, there was a lot 164 00:13:54.240 --> 00:13:56.440 of work. I was lucky enough to make that movie with Julia Solo Monov, 165 00:13:56.799 --> 00:14:01.279 which was what landed me in Spain, because no one is watching us. 166 00:14:01.120 --> 00:14:07.159 It was co- produced by Isabel Colchette and you know when she saw 167 00:14:07.159 --> 00:14:11.639 the movie, she told Julia, she asked for my phone, and she 168 00:14:11.639 --> 00:14:13.840 says I want this kid to be a forgiving, good fullop, and all 169 00:14:13.840 --> 00:14:16.519 of a sudden, no casting, nothing. I found myself working with her 170 00:14:16.559 --> 00:14:22.639 and with the Gran Liya Costa in Spain and from that came out a series, 171 00:14:22.919 --> 00:14:30.279 a film that I made with Mario Casas and then I made two seasons. 172 00:14:30.919 --> 00:14:35.799 Welcome to Eden and well, nothing one is where an actor is, 173 00:14:35.559 --> 00:14:39.279 where, I mean, he' s choosing and he' s going to 174 00:14:39.279 --> 00:14:41.480 see what he' s doing. But it seems to me that both the 175 00:14:43.440 --> 00:14:50.559 series and the cinema have very powerful tools to tell stories and you were brought 176 00:14:50.200 --> 00:14:56.399 to a wider audience, I would say, no yes, more international. 177 00:14:56.600 --> 00:15:01.039 Also yes, yes, yes, it may be, it may be yes 178 00:15:01.120 --> 00:15:03.320 foody was seen and seen all over the world. The two series were seen 179 00:15:03.799 --> 00:15:07.840 all over the world. It is very funny to enter the platforms and to 180 00:15:07.039 --> 00:15:11.080 be bent in Italian Arabic, in German, in a clearing. I have 181 00:15:11.200 --> 00:15:18.440 fun watching that and how you look. No, they don' t change 182 00:15:18.559 --> 00:15:20.759 much, I don' t know you' ve always seen another language. 183 00:15:20.840 --> 00:15:22.600 How you feel they' re acting better. And the actors I say I 184 00:15:22.720 --> 00:15:26.399 watch Korean cinema and I stay like this and they' re acting bad around 185 00:15:26.399 --> 00:15:30.679 there. You don' t know how to pepe it all sounds like you 186 00:15:30.759 --> 00:15:31.360 saw it, like it' s okay. Yeah, then I see someone 187 00:15:31.399 --> 00:15:37.759 acting in Argentina and I say this shoe, but any Korean Korean seems to 188 00:15:37.840 --> 00:15:41.519 me to be doing well. And now, well, what are your steps. 189 00:15:41.639 --> 00:15:46.360 There' s also the director' s debut. I didn' t 190 00:15:46.399 --> 00:15:50.639 make the debut eating with caito is for cousin I made of my brother and 191 00:15:50.720 --> 00:15:54.440 now it would be my second film. I told him we were good at 192 00:15:54.600 --> 00:15:58.320 nothing like me now. It seems that we now have a Spanish producer and 193 00:15:58.360 --> 00:16:03.600 a Mexican and so it seems that we can film it most of the interiors 194 00:16:03.639 --> 00:16:07.399 in Spain and the exteriors here. But the truth is that with Cecilia Roz, 195 00:16:07.559 --> 00:16:11.480 not Cecilia Rot we' re there working and following, applying and collecting 196 00:16:11.519 --> 00:16:15.799 the money still to make it. It is a film that addresses the issue 197 00:16:15.799 --> 00:16:21.240 of aesthetic surgeries and how this system pushes everyone beyond women and also actresses to 198 00:16:21.360 --> 00:16:27.159 stay young and beautiful. Always somehow reflect on that and a couple more things. 199 00:16:27.960 --> 00:16:34.440 But that' s like the main axis, and now it' s 200 00:16:34.480 --> 00:16:37.279 possible that it' s expensive this year. That project next year would be 201 00:16:37.919 --> 00:16:44.240 the idea of filming one part in Spain and another part here, the smallest 202 00:16:44.240 --> 00:16:48.039 part here. Sure, he realizes the equation. Another thing is not going 203 00:16:48.039 --> 00:16:55.919 to be clear. Sure, sure, yes, and you have some proposal 204 00:16:56.360 --> 00:17:00.799 for I have proposals that are still there very much in the o. We 205 00:17:00.039 --> 00:17:06.640 ' ll see for a bit about everything that' s going on here and 206 00:17:04.880 --> 00:17:07.599 a proposal outside that well, it has to grow up a little bit. 207 00:17:11.200 --> 00:17:18.480 But like a lot of others, I say it said good if you are 208 00:17:18.480 --> 00:17:22.039 with little work, that is, I imagine how we will be, because 209 00:17:22.039 --> 00:17:26.279 I always the truth in the last fifteen years I worked very hard and and 210 00:17:26.319 --> 00:17:30.160 the truth of my circle I am always the one who works the most and 211 00:17:30.200 --> 00:17:32.799 I say now it stopped a lot to me, the offers, the readings, 212 00:17:33.119 --> 00:17:36.000 the ions, the work and I know many people who are in the 213 00:17:36.000 --> 00:17:41.359 same situation. People I am great actors, or bigger also here in Argentina. 214 00:17:41.359 --> 00:17:47.039 Specifically yes in Argentina and something is happening that Spain, for example, 215 00:17:47.079 --> 00:17:51.680 closed quite, closed quite to the foreigners brought out a law of quota, 216 00:17:52.000 --> 00:17:53.920 that has to be that it was but they did not respect it, that 217 00:17:53.920 --> 00:17:59.920 now they are making it respect then that neither moves the rod much. But 218 00:18:00.319 --> 00:18:03.240 I say in a moment it seems they don' t want any more Argentines. 219 00:18:03.279 --> 00:18:10.960 For now, well, the world is getting difficult for everyone. Guillermos 220 00:18:11.440 --> 00:18:18.640 Fening, thank you very much for accompanying us for this presence here in GPS 221 00:18:18.240 --> 00:18:23.319 audiovisual, Radio and for this co- starring in the impacted that really of 222 00:18:23.319 --> 00:18:26.079 a very good film, is highly recommended. Well, Julia, thank you 223 00:18:26.079 --> 00:18:30.319 so much and thank you all for what you always do for saying. We 224 00:18:30.480 --> 00:18:41.559 ' re still on radio audio- visual GPS. That' s me when 225 00:18:41.680 --> 00:18:47.279 I was ten and that' s in my neighborhood where the story is born. 226 00:18:48.720 --> 00:18:51.960 What do I want to tell you? Here' s a stage that 227 00:18:51.960 --> 00:19:00.200 ends. I see it changed since you left life gives and you' re 228 00:18:59.799 --> 00:19:04.359 fart. It' s my dog, that leave them here You' re 229 00:19:04.400 --> 00:19:07.160 going to change school Juan, and the less we cross paths. For him 230 00:19:07.200 --> 00:19:11.000 and for everyone. They look at the whole movement, at what time I 231 00:19:11.079 --> 00:19:15.240 left and how many are the family all moved and they' re going to 232 00:19:15.240 --> 00:19:27.799 have the stick. So something also sir has me and I' m capacitated 233 00:19:27.799 --> 00:19:33.119 yes. That' s why they don' t know the wall in a 234 00:19:36.960 --> 00:19:37.720 row they' re gonna notice or what' s going on. He' 235 00:19:38.240 --> 00:19:41.680 s not gonna see my house Vale' s the lowest guy. Te Ve 236 00:19:41.440 --> 00:19:52.519 Corretolo p Records on the last day of your childhood. We invite you to 237 00:19:52.519 --> 00:19:56.079 travel in time, because we take you right there accompanying Nico on the way 238 00:19:56.119 --> 00:20:02.759 to his maturity in a neighborhood thriller in between, a film by Martin Gamaler, 239 00:20:03.119 --> 00:20:07.400 simultaneous premiere in the cinema comnt and in cinema rocha a la plata from 240 00:20:07.400 --> 00:20:12.039 the 15th of February, every day, twenty- thirty hours we also find 241 00:20:12.119 --> 00:20:18.359 ourselves in in instagram Arroba between half point the film. We would have liked 242 00:20:19.400 --> 00:20:29.359 to know what was the last day of our childhood. Mexican Pedro de Tavira, 243 00:20:29.839 --> 00:20:34.319 co protagonist with Juana Viale the black comedy human resources, a co- 244 00:20:36.240 --> 00:20:41.559 production between prism cinema of Córdoba and surviving films of Mexico that is exhibited in 245 00:20:41.720 --> 00:20:51.079 its second week in about twenty theaters of nine Argentine provinces. A worker alienated 246 00:20:51.400 --> 00:20:59.160 and tired of pergenious routine, a plan to attack his superior affluents that between 247 00:20:59.680 --> 00:21:06.599 loves and affairs, leaves his hands and then a series of questions occur that 248 00:21:07.279 --> 00:21:15.039 better see them on the screen. There, in the cinemas human resources. 249 00:21:15.240 --> 00:21:21.160 We are in communication with Pedro de Tavira, who is in Mexico and is 250 00:21:21.200 --> 00:21:27.400 the co- star of this film. Pleased to be with us, to 251 00:21:27.400 --> 00:21:33.200 receive you here on GPS audiovisual radio How are you, Pedro Hello Hello. 252 00:21:33.359 --> 00:21:36.319 Thank you very much, thank you for the space. They hear me well, 253 00:21:36.599 --> 00:21:41.559 if we hear you perfect, we hear you perfect, what you found 254 00:21:41.640 --> 00:21:48.000 in this black comedy that excited you to accept this good role. First of 255 00:21:48.079 --> 00:21:51.279 all, the novel, the novel by Antonio Ortuño, from which this script 256 00:21:51.359 --> 00:21:57.640 by Jesús Baraña is based, which I think is a good way, a 257 00:22:00.039 --> 00:22:07.240 black humor, very acidic, to make a critique of the system, not 258 00:22:07.359 --> 00:22:11.440 only political and economic, but also how that prevails in us as people, 259 00:22:11.720 --> 00:22:21.440 how it has made us consumed to the extreme, dissatisfied with power struggles even 260 00:22:21.440 --> 00:22:26.519 the smallest loopholes. And then I think that the Human Resources Office becomes a 261 00:22:26.559 --> 00:22:33.000 kind of microcosm of society in terms of wanting, wanting to have more, 262 00:22:34.440 --> 00:22:41.240 because we understand that having more power, aquisitive is going to be someone in 263 00:22:41.480 --> 00:22:48.200 life. We are nothing more than being told a little bit by the characters 264 00:22:48.240 --> 00:22:53.119 mocking that they are ordinary like their clothes, unless they have elegant clothes, 265 00:22:53.319 --> 00:22:56.000 which they do not have to remove the label to say that it is a 266 00:22:56.920 --> 00:23:06.400 cheap brand will be someone until they have a decent shirt, even when they 267 00:23:06.640 --> 00:23:10.839 have a chance to order a wine at the bar and cheap beer. Then 268 00:23:10.880 --> 00:23:15.160 you' ll be someone clear that it' s a bit of a society 269 00:23:15.839 --> 00:23:18.039 that we live in today where, in delf oracle, it' s now 270 00:23:18.039 --> 00:23:22.839 the ATM. Sure enter if you see using it and from your use, 271 00:23:22.920 --> 00:23:25.680 you know who you are or, what you are clear, yes, yes, 272 00:23:26.079 --> 00:23:33.640 or how you can behave, no, what to simulate. It' 273 00:23:33.720 --> 00:23:38.799 s a society of simulations, not your character. Gabriel Lynch is an antihero 274 00:23:38.839 --> 00:23:48.240 who becomes a psychopath. In short, it can totally be understood as a 275 00:23:48.240 --> 00:23:52.759 reading. This thing you were talking about earlier, a portrait of Mexican society 276 00:23:52.759 --> 00:24:00.720 itself. I believe it is the society that lives under this capitalist, neoliberal 277 00:24:00.799 --> 00:24:07.440 consumerist system. It can happen in Mexico as it can happen in Argentina, 278 00:24:07.000 --> 00:24:12.119 Colombia, the United States, Germany whatever. In fact, that was also 279 00:24:12.160 --> 00:24:19.240 a bit of co- production with Argentina and then having a cast that was 280 00:24:19.279 --> 00:24:27.559 mixed between Argentines from Cordoba, there was a need to ask where we are 281 00:24:27.640 --> 00:24:32.079 going to raise this novel. I say this movie. The novel is not 282 00:24:33.319 --> 00:24:37.160 even posed exactly in Mexico City, but it is Guadalajara, or it is 283 00:24:37.240 --> 00:24:40.519 intuited that it is Guadalajara, which is a capital in a province here in 284 00:24:40.559 --> 00:24:45.759 Mexico, and suddenly we realized that there was no need, that we could 285 00:24:45.759 --> 00:24:52.920 be Argentines, Mexican Cordobas, Colombians, wherever it was from. What the 286 00:24:52.920 --> 00:24:56.759 film talks about doesn' t matter, no matter where you were born or 287 00:24:56.799 --> 00:25:06.119 what accent they have famous globalization, no yes, I say totally, totally 288 00:25:06.200 --> 00:25:11.000 in every sense. Now, a part of human resources was shot here, 289 00:25:11.519 --> 00:25:18.240 in Cordoba, in Argentina. What enriched you from that stage of filming. 290 00:25:19.319 --> 00:25:22.519 Well, for starters, it was the whole shooting of the movie of what 291 00:25:22.559 --> 00:25:26.799 was done there. And good for starters, Córdoba is a very beautiful city, 292 00:25:27.519 --> 00:25:34.359 a very warm people, very affectionate, what I feel was the greatest 293 00:25:34.359 --> 00:25:40.519 success of doing so is that we find a group of people who are extremely 294 00:25:40.599 --> 00:25:48.640 capable, extremely professional, who are up to any cru of filming in which 295 00:25:48.759 --> 00:25:56.559 I have been able to work on the first level and, at the same 296 00:25:56.599 --> 00:26:03.480 time, was a small group of people. Then we became very easy team. 297 00:26:03.319 --> 00:26:11.160 The Mexican corrovés combination was very good and, in addition, the first 298 00:26:11.200 --> 00:26:15.640 week filming was all the sequences that are inside the offices. So that helped 299 00:26:15.680 --> 00:26:21.400 a lot for the pace of work to include and be understood without tending well 300 00:26:21.440 --> 00:26:26.759 instead of everyone on the team. But above all, very surprised by the 301 00:26:26.799 --> 00:26:30.880 human warmth and good, not surprised by the technical quality they have, because 302 00:26:30.920 --> 00:26:34.640 that is known from when one sees any movie in Argentine cinema. The truth, 303 00:26:36.039 --> 00:26:37.279 very happy, very happy that it was there. If it had been 304 00:26:37.279 --> 00:26:41.440 here in Mexico, it would have happened like one more movie. I don 305 00:26:41.480 --> 00:26:48.559 ' t know how we would explain clearly by the characteristics of the place of 306 00:26:49.519 --> 00:26:57.400 cis of the people being for us Mexicans to go to a place outside or 307 00:26:57.440 --> 00:27:03.680 when it' s your turn to shoot a place that isn' t your 308 00:27:03.680 --> 00:27:07.920 house, your city, you lock yourself in more at work, you evoke 309 00:27:07.960 --> 00:27:12.400 yourself more at work and you live everything is a journey and I think that 310 00:27:12.640 --> 00:27:19.559 helped a lot that, at least the Mexican actors, that although we knew 311 00:27:21.200 --> 00:27:23.200 each other, we had not worked together any, then we could make team 312 00:27:23.200 --> 00:27:27.960 community very easy. Well, that goes through the movie somehow. Now with 313 00:27:29.039 --> 00:27:36.599 the film already premiered in Mexico and Argentina, What do you realize that you 314 00:27:36.720 --> 00:27:44.480 hadn' t noticed before, let' s say from the reactions of the 315 00:27:44.519 --> 00:27:49.039 audience, because one, whenever you make some kind of comedy or inspire comedy, 316 00:27:49.400 --> 00:27:55.079 is always afraid that people can laugh or can' t find the joke. 317 00:27:56.160 --> 00:28:00.920 And, well, here in Mexico they laughed a lot here, in 318 00:28:00.920 --> 00:28:07.319 Mexico people who work in offices oratorically are called bodines. So we said it 319 00:28:07.319 --> 00:28:14.599 ' s the bodine community of clerks. In Mexico it was very well reflected 320 00:28:14.640 --> 00:28:18.480 in the film. It was possible to identify well and I was surprised that 321 00:28:18.480 --> 00:28:22.279 I was also afraidcons premiered in Argentina that it would not have been a very 322 00:28:22.279 --> 00:28:26.680 Mexican film. I know how to talk in the way of a joke, 323 00:28:26.839 --> 00:28:30.559 and I don' t think so. I think that even the star function, 324 00:28:30.599 --> 00:28:33.319 which was the one I witnessed in Cordoba, I had the sensations that 325 00:28:33.440 --> 00:28:38.519 laughed the most what was served here in Mexico. Then I want to think 326 00:28:38.559 --> 00:28:44.759 it works that way. Good pedro of this life, protagonist of the black 327 00:28:44.839 --> 00:28:51.720 comedy of human resources directed by Jesús Magania Vázquez, which is exhibited in halls 328 00:28:51.759 --> 00:28:57.880 throughout the country. Thank you so much for joining us I send you a 329 00:28:59.000 --> 00:29:02.160 hug to Mexico, where you are saying here from Buenos Aires. Thank you, 330 00:29:03.119 --> 00:29:06.200 We thank you, Thank you for your time and I hope I can 331 00:29:06.200 --> 00:29:10.839 return to the beautiful one of Buenos Aires. We' re waiting for you 332 00:29:10.839 --> 00:29:18.160 on audiovisual GPS. Radio. This is the story of my hatred. Well, 333 00:29:18.960 --> 00:29:22.759 I' m his printing permit. That' s how Manager' s 334 00:29:22.839 --> 00:29:26.359 Square was recently released and I applied for it. The new resources are years. 335 00:29:29.039 --> 00:29:33.400 It looks like it' s going to be a big deal of mine 336 00:29:33.440 --> 00:29:37.799 for everyone in there because he' s the son of I don' t 337 00:29:37.799 --> 00:29:40.039 know who, because she' s a pretty obvious daughter that they' re 338 00:29:40.039 --> 00:29:41.440 going to put a lot of fairness in him. Neither you nor I had 339 00:29:41.519 --> 00:29:44.279 a chance. We weren' t in the eternal for the job. It 340 00:29:45.880 --> 00:29:49.720 ' s no longer important for your husband to be a brother who' s 341 00:29:49.720 --> 00:29:53.839 the most popular in the world. This is a cut company and something I 342 00:29:56.119 --> 00:30:06.240 have to be wrong with. Hang in here, you gotta fly. One 343 00:30:06.279 --> 00:30:10.920 looked like a tristitan, less others saw how we terns You and we are 344 00:30:11.880 --> 00:30:17.200 already a goal not a rush to revolution. They' re special like us. 345 00:30:18.000 --> 00:30:22.599 Don' t do anything. I don' t have a paruritious plan, 346 00:30:23.119 --> 00:30:25.319 I have a clau type. He' s been bombed by a car. 347 00:30:26.720 --> 00:30:41.839 I am Now there are two types of people, this two which is 348 00:30:41.839 --> 00:30:59.519 you. Marcio Migliorici is the head of international affairs of the Cinematographic and Visual 349 00:30:59.559 --> 00:31:07.640 Audio Agency of Uruguay AKO, in charge of promoting and positioning Uruguayan audiovisual content 350 00:31:07.920 --> 00:31:15.039 internationally. We are with Marcio Migliorici based on the intense activity of Laku, 351 00:31:15.200 --> 00:31:22.839 which continues to promote the Uruguay audiovisual program, the support of films in festivals 352 00:31:22.920 --> 00:31:26.920 and the development of new fields at the international level. Hi, Marcio, 353 00:31:27.240 --> 00:31:33.200 how are you? Welcome Hi, how are you doing? Thank you very 354 00:31:33.400 --> 00:31:37.240 much or cars two on your show. It' s a great pleasure. 355 00:31:37.240 --> 00:31:42.680 Nice one, too. The Aku has been formed for a year and in 356 00:31:42.759 --> 00:31:52.559 this brief period it launched ambitious promotion plans that incorporate the concept of cash revenge 357 00:31:55.160 --> 00:32:00.079 is just as an incentive. What are the lines of encouragement, that you 358 00:32:00.079 --> 00:32:06.240 are working, that are working and what advantages offer from the COU. Well, 359 00:32:07.119 --> 00:32:13.960 in what is black COU, there are two sources of funding that it 360 00:32:14.079 --> 00:32:17.119 administers from COU. One is the Promotion Fund, which is a fund that 361 00:32:17.160 --> 00:32:22.160 is competitive and that awards prizes to the different stages of what is armed, 362 00:32:23.000 --> 00:32:30.359 we can say, the audiovisual project from development to what is obviously production, 363 00:32:30.599 --> 00:32:37.920 post production, promotion, positioning. And we also have what is the Uruguayan 364 00:32:38.200 --> 00:32:43.160 audiovisual program, as you said well Cuba for us, which is from the 365 00:32:43.240 --> 00:32:47.599 two thousand nineteen, which started with three million as bags in itself to allocate 366 00:32:47.839 --> 00:32:52.079 in case Bates, continued with five, with seven and today I am with 367 00:32:52.200 --> 00:32:57.440 twelve million, which shows the great growth since two thousand nineteen. On this 368 00:32:57.480 --> 00:33:01.519 side and previously simply, the Uruguay Visual program, which has been a great 369 00:33:01.599 --> 00:33:07.680 tool for the growth of activity in Uruguay, has two columns and we mean 370 00:33:07.799 --> 00:33:12.400 two lines of support, one for the production service and another for the co 371 00:33:12.559 --> 00:33:21.400 - production. Now, it became an appreciated place for Argentine producers and filmmakers 372 00:33:21.440 --> 00:33:30.039 for reasons ranging from financial and legal security to cost optimisation. During this year 373 00:33:30.079 --> 00:33:42.640 of management, more consultations are observed on the possibilities of co- production on 374 00:33:42.640 --> 00:33:46.119 projects. In this sense, I say of the work they are doing. 375 00:33:49.000 --> 00:33:53.559 If the truth is that growth is constant and from Argentina, for example, 376 00:33:53.599 --> 00:33:59.720 we have more and more consultations that goes from projects to what is being is 377 00:34:00.039 --> 00:34:05.039 to open companies in Uruguay, yes, and work from Uruguay towards other countries, 378 00:34:05.319 --> 00:34:08.800 which goes beyond Argentina. This is happening on the part of countries in 379 00:34:08.840 --> 00:34:14.199 the region and even from Europe, which wants to work not only for Uruguay, 380 00:34:14.559 --> 00:34:17.280 but from Uruguay to other countries. And that goes hand in hand, 381 00:34:17.360 --> 00:34:22.159 as we said in the Uruguayadio Visual program, that the bata case line told 382 00:34:22.239 --> 00:34:29.000 you the service of production of up to twenty- five percent of evolution co 383 00:34:29.079 --> 00:34:34.039 production of casomet is twenty to eighty percent and to the two of us that 384 00:34:34.079 --> 00:34:38.159 we do not charge the tax on consumption the bat that is zero, then, 385 00:34:38.199 --> 00:34:42.679 on that side, is clear the incentive, more obviously, the great 386 00:34:42.760 --> 00:34:46.159 benefit of the stability of Uruguay, that is what the investments seek. Of 387 00:34:46.159 --> 00:34:52.159 course, of course, this and this percentage from 20 to 80 percent varies 388 00:34:52.360 --> 00:34:58.920 according to the type of production, the magnitude of the production. That, 389 00:34:58.920 --> 00:35:02.920 in fact, goes hand in hand with the eligible categories of spending. If 390 00:35:04.039 --> 00:35:07.480 you with your producers, being Argentina co- produced with Uruguay, it is 391 00:35:07.519 --> 00:35:13.119 a local partner, if you already have assured sixty percent of the funding, 392 00:35:13.199 --> 00:35:15.480 which is one of the requirements to prove that it is a serious project, 393 00:35:16.039 --> 00:35:22.960 as for the State to invest you introduce yourself to the four and then you 394 00:35:22.159 --> 00:35:24.519 present your plan of what you will be spending the money on. It has 395 00:35:24.599 --> 00:35:28.840 to be eligible categories in the sense that well, obviously, money is not 396 00:35:28.840 --> 00:35:30.719 going to be to buy a house, as it is an audiovisual project. 397 00:35:31.440 --> 00:35:37.719 But in the categories we mean that the closer the expenditure, that is the 398 00:35:37.719 --> 00:35:42.480 category to the audiovisual activity, if you hire a photo director, for example, 399 00:35:42.880 --> 00:35:46.719 the closer it is to 80%. If you hire transportation or lodging, 400 00:35:46.840 --> 00:35:52.760 which is clearly necessary, but not so directly related by audiovisual, it 401 00:35:52.840 --> 00:35:57.000 gets closer to twenty. The idea of that rank is to encourage that you 402 00:35:57.599 --> 00:36:00.800 spend in the closest to audiovisual activity and get an average of about forty percent 403 00:36:00.840 --> 00:36:05.360 and, if you are a humer, that you don' t pay the 404 00:36:05.920 --> 00:36:09.480 bad VAT tax, which is twenty- two in Uruguay, that is, 405 00:36:09.519 --> 00:36:15.760 you' re saving twenty- two percent more, maybe forty, if that 406 00:36:15.199 --> 00:36:17.280 ' s a lot, it' s symphony. It' s very important. 407 00:36:17.400 --> 00:36:23.079 Exactly yes above all for production costs. Not good, in these days 408 00:36:23.159 --> 00:36:30.559 that the Malaga Festival is taking place are presented four Argentine co- productions Uruguayan 409 00:36:31.000 --> 00:36:37.960 shipwrecks and the lands that compete in the official section plus a blue bird and 410 00:36:38.159 --> 00:36:44.199 like the sea what valuation you make of this joint work and to what extent 411 00:36:44.280 --> 00:36:50.840 ACAU can contribute to increase these co- productions. Good to give you the 412 00:36:50.920 --> 00:36:54.159 reference I' m now at the Malaga Festival. Ah, look at just 413 00:36:54.239 --> 00:36:59.960 accompanying these titles. And also, on the other hand, there is a 414 00:37:00.079 --> 00:37:04.199 Uruguayan majority film at the level between the two documentary that is also competing. 415 00:37:04.760 --> 00:37:07.320 In other words, there are several Uruguayan titles in different capacities. Majority, 416 00:37:07.400 --> 00:37:14.800 Majority And what we say is welcome to the majority or minority co- productions, 417 00:37:15.639 --> 00:37:22.800 in which we can participate and learn and make us more agile, more 418 00:37:22.159 --> 00:37:29.280 intelligent in the experience with others and grow projects. And Argentina. Well, 419 00:37:29.320 --> 00:37:32.039 we always want to work. In other words, the talent of Argentina is 420 00:37:32.039 --> 00:37:37.119 indisputable. I mean, it' s an impressive thing and, on that 421 00:37:37.239 --> 00:37:39.559 side, I think that there is also, naturally, the work among Uruguayans 422 00:37:39.639 --> 00:37:45.639 Argentina, by idiosyncrasy, by ties, by the ease of connection organically through 423 00:37:45.679 --> 00:37:52.079 stories. Yeah, definitely good. In the last edition of Ventana Sur, 424 00:37:53.440 --> 00:37:59.559 a protocol on series was signed with INCA, with the National Institute of Film 425 00:37:59.559 --> 00:38:06.000 and Audiovisual Art. What it consists of and how you think it follows the 426 00:38:06.119 --> 00:38:12.199 validity of that agreement, well, I have to think about the constructions of 427 00:38:12.199 --> 00:38:17.480 what it is, the institutional bonds go beyond sometimes the circumstantial of the people 428 00:38:17.559 --> 00:38:21.880 who are or are and the decisions, that is. The idea is to 429 00:38:21.960 --> 00:38:25.519 create institutions and agreements that continue and, as I told you with Argentina, 430 00:38:27.159 --> 00:38:32.039 it is organic to work and it was necessary to have on the side of 431 00:38:32.039 --> 00:38:37.760 the series that possibility, of that bridge And we believe that good that the 432 00:38:37.000 --> 00:38:45.280 times, as if we know, are advancing in different modalities, that this 433 00:38:45.280 --> 00:38:46.719 agreement is, is signed, that is, the will was expressed as such. 434 00:38:47.320 --> 00:38:52.519 Then there are the circumstances that make it possible to implement it as soon 435 00:38:53.760 --> 00:39:00.599 as possible. But the agreement, in our opinion, is that it demonstrates 436 00:39:00.679 --> 00:39:05.920 that intention and that producers can talk to them and, obviously, that they 437 00:39:05.920 --> 00:39:09.239 celebrate it, because it consists of the possibility of facilitating not productions and, 438 00:39:10.639 --> 00:39:16.719 moreover, supporting them economically, that this is something that already co- productions 439 00:39:16.760 --> 00:39:20.159 at the level of television ceris, in different measures, were already taking place. 440 00:39:21.320 --> 00:39:25.760 We' ve been resolving. We are simply going a little behind what 441 00:39:25.920 --> 00:39:36.639 is happening among producers, trying to accompany them in their initiatives in a certain 442 00:39:36.639 --> 00:39:39.599 way by marking the way. So it is good and what are, lastly, 443 00:39:40.760 --> 00:39:50.079 the objectives in this two thousand twenty- four in international affairs and for 444 00:39:50.199 --> 00:39:54.360 us it is always, that is, opening up opportunities in different fields. 445 00:39:54.559 --> 00:40:00.639 We are trying to consolidate relations with Europe and create opportunities. That is why 446 00:40:00.639 --> 00:40:06.840 we have just signed the agreement with Spain on co- production. We also 447 00:40:07.440 --> 00:40:12.360 sign a partnership agreement with the United Kingdom. In the United Kingdom it is 448 00:40:12.480 --> 00:40:15.400 an interesting example because it does not sign these agreements. But in this case 449 00:40:15.480 --> 00:40:20.320 he decided to sign with Uruguay because again it is like a gateway, thanks 450 00:40:20.400 --> 00:40:24.360 to its stability, to work with the region. And, on that side, 451 00:40:24.559 --> 00:40:29.280 what is Europe, which we came from last year, to generate a 452 00:40:29.360 --> 00:40:35.119 bilateral fund with Portugal, on the one hand, to consolidate with Italy and 453 00:40:35.400 --> 00:40:40.159 we are opening up towards Asia. We' ve also just signed with China, 454 00:40:40.440 --> 00:40:44.639 yes, an agreement, but that' s another kind, which is 455 00:40:44.719 --> 00:40:49.800 what we always say at the Agency. It' s an ecosystem that we 456 00:40:49.800 --> 00:40:55.199 ' re obviously trying to push, and it has different parts, different actors, 457 00:40:55.400 --> 00:40:58.000 and with China it' s talking about another kind of industry. Sure 458 00:40:58.559 --> 00:41:01.320 Maybe if you' re not going to have one or one production, but 459 00:41:01.400 --> 00:41:07.800 maybe you can have a talent placement or circulation of work, then they go 460 00:41:07.800 --> 00:41:10.760 on other interesting sides. Of course, with India we are working and that 461 00:41:10.840 --> 00:41:15.920 is to open up with Asia what we are interested in at this moment, 462 00:41:15.960 --> 00:41:20.280 that we think that well, that more is being given, what it is 463 00:41:20.320 --> 00:41:25.360 to continue a bond that we started last year and strengthen with the United States, 464 00:41:27.960 --> 00:41:28.599 well, that is to say that they are gaining territories little by little. 465 00:41:29.159 --> 00:41:37.480 I understand Marcio Migliorissi, Head of International Affairs of the Film and Audiovisual 466 00:41:37.519 --> 00:41:45.079 Agency of Uruguay. Here we thank you for this contact with GPS Audiovisual Radio 467 00:41:45.360 --> 00:41:51.159 and we will follow carefully everything that is happening, especially in terms of contacts 468 00:41:51.280 --> 00:41:57.000 and co- productions with Argentina. Thank you so much. Many thanks to 469 00:41:57.079 --> 00:42:02.320 you and always a pleasure to talk and that is to work with Argentina always 470 00:42:02.440 --> 00:42:07.320 with open arms, that the Argentine talent is totally impressive. Thank you very 471 00:42:07.320 --> 00:42:42.440 much. We' re still on radio audio- visual GPS. Cecilia Khan 472 00:42:42.800 --> 00:42:51.199 is one of the seven directors called for the cycle Argentine Directors, organized jointly 473 00:42:51.400 --> 00:42:55.360 by gender Dak and GPS Audiovisual, which takes place every Tuesday of March and 474 00:42:55.480 --> 00:43:05.000 April in the cinema art Cacodelfia at 19 hours. Your documentary started from me 475 00:43:05.400 --> 00:43:10.039 a boat carrying me will be shown as a preview on Tuesday the 12th. 476 00:43:10.400 --> 00:43:17.679 At 19 hours we are with Cecilia Cana thank you so much for joining us 477 00:43:19.360 --> 00:43:27.079 and for participating in Argentine directors. Cecilia, how are you? You' 478 00:43:27.199 --> 00:43:29.599 re too much I wasn' t gonna tell you you were mutated, but 479 00:43:29.599 --> 00:43:31.079 now I' m listening. Ah listen well, now yes, yes, 480 00:43:31.320 --> 00:43:37.599 now we hear you perfect. Okay. A ship took me away from me. 481 00:43:37.679 --> 00:43:45.480 It is a documentary whose starting point is a young Argentine member of the 482 00:43:45.679 --> 00:43:52.519 Korean Community in Argentina, who learns about the drama of women sex slaves exploited 483 00:43:52.639 --> 00:44:05.639 by the Japanese army during World War II. How you got to that subject. 484 00:44:05.960 --> 00:44:14.840 Cecilia was in a very casual way. I was filming material for my 485 00:44:14.920 --> 00:44:17.000 first documentary. I was in Korea, in fact, signing in South Korea, 486 00:44:17.599 --> 00:44:22.000 and I had the chance, I was lucky to be able to meet 487 00:44:22.079 --> 00:44:30.079 one of these survivors. I just had the opportunity to attend a lecture where 488 00:44:30.199 --> 00:44:37.639 she gave a talk was a grandmother named King Bog Tong. At that time 489 00:44:37.719 --> 00:44:43.280 she was ninety- one years old when I heard her testimony, and it 490 00:44:43.320 --> 00:44:51.440 was a heartbreaking testimony, because she basically told how she had been kidnapped at 491 00:44:51.559 --> 00:44:54.159 the age of fourteen, how she was raped for the first time, how 492 00:44:57.400 --> 00:45:01.159 she was raped more than thirty times a day by the shame and guilt she 493 00:45:01.159 --> 00:45:09.159 felt for having survived while she left a lot of dead companions and the social 494 00:45:09.199 --> 00:45:14.880 stigma she had to live many years later, even though that one had survived, 495 00:45:14.880 --> 00:45:23.960 that atrocious fact. Nothing was a testimony to the truth that very completely 496 00:45:24.000 --> 00:45:29.679 broke the truth from me and it was very crazy, because until that moment 497 00:45:29.719 --> 00:45:31.639 I was completely unaware about that story, about that portion of history. So 498 00:45:31.719 --> 00:45:37.559 that' s what I didn' t have most, not only caught my 499 00:45:37.559 --> 00:45:40.400 attention, but I felt like an irresponsibility on my part, like saying how 500 00:45:40.480 --> 00:45:45.800 I might not know about this, but it' s a good topic because 501 00:45:46.000 --> 00:45:51.800 of what you notice there on departure from me a boat taking me. It 502 00:45:51.920 --> 00:46:01.039 is a very strong issue of invisibility that still persists completely today. Go on. 503 00:46:01.199 --> 00:46:06.719 Yes, yes, yes, and under what circumstances you understood that there 504 00:46:06.920 --> 00:46:10.920 was a movie there. Okay. It took me many years, actually, 505 00:46:12.480 --> 00:46:20.519 to be able to first encourage me to want to make a movie playing this 506 00:46:20.519 --> 00:46:24.719 theme. I mean, because after I had, what happened to me was 507 00:46:24.800 --> 00:46:30.079 that I' d heard that testimony. It was an experience like it was 508 00:46:30.159 --> 00:46:37.039 marked for me. This happened, this happened to me in the two thousand 509 00:46:37.039 --> 00:46:40.400 fourteen, but well, the years passed and I thought, I say well 510 00:46:40.519 --> 00:46:45.920 not with this is a subject as very unattainable. How can I talk about 511 00:46:45.039 --> 00:46:53.119 this? And actually that was kind of the contingency of the moment and also 512 00:46:53.159 --> 00:47:00.599 chatting with my friend and screenwriter from the film, with Virginia Rolfo, I 513 00:47:00.679 --> 00:47:04.480 was telling her about this topic and one day we came up with that no, 514 00:47:05.679 --> 00:47:07.519 Virginia came up with a guy. Okay. The starting point was to 515 00:47:07.599 --> 00:47:14.960 think about this how to talk about this topic, but from here, from 516 00:47:15.079 --> 00:47:20.119 this point in the world, from the other side of the world, being 517 00:47:20.639 --> 00:47:22.679 who we are and where we are. And that was a little bit, 518 00:47:22.199 --> 00:47:25.840 a starting point that gave me at least the chance to think about this movie. 519 00:47:29.400 --> 00:47:36.159 Not sure, I imagine that because the testimonies are also very hard, 520 00:47:36.719 --> 00:47:43.880 but how to turn all that pain and horror into images, not to narrate 521 00:47:44.039 --> 00:47:50.440 them from here, as you are saying and I think you found a very 522 00:47:51.559 --> 00:47:54.159 powerful point of view, because the film goes beyond that. We' re 523 00:47:54.199 --> 00:47:59.239 also not going to spoil, because what we want is for next Tuesday, 524 00:47:59.440 --> 00:48:07.400 at 19 o' clock, to be there in Cacodelfia to watch this powerful 525 00:48:07.400 --> 00:48:12.800 Cecilia Can movie. But well, what the Korean community of your generation warns 526 00:48:14.360 --> 00:48:21.360 when it hears about this issue, when this topic arises, because the film 527 00:48:21.480 --> 00:48:25.639 also raises what happens to young women, not only to power, but well, 528 00:48:27.079 --> 00:48:30.960 one of the protagonists, the protagonist, is a young woman. Also, 529 00:48:31.599 --> 00:48:37.079 well, that' s something I' d like to know a little 530 00:48:37.119 --> 00:48:39.400 bit about when that movie has been seen here in the movies. We are 531 00:48:39.400 --> 00:48:43.599 very, very, very happy for the screening now in Cacodel, the twelve, 532 00:48:44.480 --> 00:48:49.880 in this beautiful cycle and also to expectations and preparing the premiere that you 533 00:48:49.880 --> 00:48:54.440 are going to very soon this year, in July. So, on the 534 00:48:54.559 --> 00:48:58.519 one hand this and, on the other hand, with respect to the subject 535 00:48:58.519 --> 00:49:04.719 itself, I think that perhaps unlike my generation, which is a little more 536 00:49:04.840 --> 00:49:08.039 generation, is an earlier one. Today there is a little more information about 537 00:49:08.119 --> 00:49:15.039 the Internet and all that generates more information, although it can be from a 538 00:49:15.119 --> 00:49:22.440 very superficial place, but even in Korea, not all the militancy that there 539 00:49:22.639 --> 00:49:30.159 is for just the search for justice with regard to these issues, the militancy 540 00:49:30.280 --> 00:49:36.079 is full of young or less boys from high school, which is, for 541 00:49:36.599 --> 00:49:42.679 example, that not these women since the nineties, that was the cousin, 542 00:49:43.239 --> 00:49:45.800 that is to say that in the nineties child and one was the first, 543 00:49:45.000 --> 00:49:50.280 one of the first survived the one of the survivors, was the first to 544 00:49:50.320 --> 00:49:54.719 give a public testimony and from that it was the first one that was encouraged. 545 00:49:55.880 --> 00:50:01.239 And from that every Wednesday they make a protest in front of the Japanese 546 00:50:01.280 --> 00:50:07.840 Embassy, according to South Korea, and it' s very interesting because today 547 00:50:07.920 --> 00:50:15.719 those protests continue to work on Wednesdays. But I, when we went to 548 00:50:15.719 --> 00:50:22.000 sign, was very moving, because that was most of the young, young 549 00:50:22.199 --> 00:50:30.800 boys in Korean society. I would love this to happen even more here, 550 00:50:30.039 --> 00:50:35.599 not only in the Korean community, but also in society at large. These 551 00:50:35.679 --> 00:50:40.280 are subjects that I would like to have a little more than a little bit 552 00:50:40.840 --> 00:50:45.920 more than the film, even if it can contribute a bit of sand in 553 00:50:45.039 --> 00:50:51.960 this question of making this historical fact visible astrid that the truth that very few 554 00:50:52.079 --> 00:51:00.800 people know also yes and also, I allow myself to add without advancing anything, 555 00:51:01.039 --> 00:51:07.039 the film that also has a universal theme regarding women and the conception that 556 00:51:07.199 --> 00:51:13.599 we have about ourselves, regarding our rights, our body, the availability, 557 00:51:14.719 --> 00:51:21.320 of what society expects of us. There is much talk in the film, 558 00:51:22.280 --> 00:51:25.719 in this case of Korean society, which is what you expect from women today 559 00:51:25.960 --> 00:51:35.039 even and gender- based violence and abuse. In short, all these issues 560 00:51:35.280 --> 00:51:39.760 that also confront us here in Argentina and, unfortunately, in so many parts 561 00:51:39.840 --> 00:51:45.599 of the world. Well, Cecilia Can, thank you so much for this 562 00:51:45.599 --> 00:51:52.679 testimony. This foretaste of birth departed from me a ship bearing a title also 563 00:51:52.800 --> 00:52:00.320 very suggestive. On Tuesday then, at 19 o' clock in cinema art, 564 00:52:00.599 --> 00:52:08.639 Cacodelfia you will be presenting our function. And so if we go to 565 00:52:08.679 --> 00:52:12.840 the whole team for the protagonist of the film, also to answer questions, 566 00:52:13.079 --> 00:52:17.360 so we hope that many people can come that we also expect many thanks, 567 00:52:17.760 --> 00:52:27.719 and with Cecilia Khan, we are saying goodbye until next Wednesday Thank you Cabra 568 00:52:27.760 --> 00:52:32.320 for accompanying us in the technical operation. Stay on track of radio topic train 569 00:52:32.480 --> 00:52:39.559 and you know, as we say, always see cin Argentine, but today 570 00:52:39.920 --> 00:52:59.159 more than ever. Thank you and until next week, this is what we 571 00:52:59.280 --> 00:53:10.559 wish you visual radio. We expect you next Wednesday at 19 hours by radio 572 00:53:10.800 --> 00:53:13.440 thirty or train cap