Talented Women, Beauty and Imagination in 4 Indispensable Films at the Mar del Plata Festival

U.S.A.Talented Women, Beauty and Imagination in 4 Indispensable Films...

Talented Women, Beauty and Imagination in 4 Indispensable Films at the Mar del Plata Festival

Thursday was the first rainy day in the city of Mar del Plata since the International Film Festival began. Ideal day to take shelter in the hall, as if the sun was not sunny.

A good option for journalists is to go to the press room and drink coffee with an exquisite sweet potato frola paste. This is one of the few points of conflict among journalists I have seen. We talked about movies, that’s true, but we didn’t argue much, because there is a general consensus about the level of programming. Instead there is a significant debate with this traditional cake. In this regard, there are irreconcilable differences in Argentina, which go deeper than some political differences.

There are those who guarantee the duel will clash with a fork, and those who want to close the rift by arguing that pasta frola is made from quince and cheese and sweet, from sweet potatoes. As the keeper of this subtle product of our culinary arts, I demand respect for those of us who belong to that sheer minority, capable of protecting our preference tooth and nail. I take advantage of these lines to highlight the people who are responsible for participating in the journalism at the festival, which do not discriminate against us.

Main Hall of the Mar del Plata International Film Festival
Main Hall of the Mar del Plata International Film Festival

Rooms tend to become more public after a long weekend. Perhaps this festival has become more visible after hundreds of thousands of people have passed by. Perhaps film-watching tourists, who did not get accommodation in those days, have come till Tuesday. Perhaps the people of Mar del Plata have more time to go to the movies after working in those days. The truth is that there is more flow in different tasks.

A single issue worries about it, even the festival officials. As the days go by, chinstrap use is discounted during projections, People are obliged to enter rooms with proper security, but once the lights are out, no one can control that care remains. It may be useful to mention it here so that all of us cinema lovers in cinemas become aware that care is collective and we are all responsible.

Documentaries about women, art and history

maria alvarez Found the story of sisters isabelle And Amelia Cavallini Whereas what he was looking for was to give shape to a fiction project. I was writing a screenplay about two old sisters. The Cavallini were twins, they were 90 – they turned 91 during filming – and in the past they had composed a piano pair. He never married or had children. He bet on his career as a pianist, which quickly fell into disrepair, and he never participated. Reality again surpassed fiction.

close is the last part of a documentary trilogy that began las cinephiles (2017) and continued lost time (2020). In this film she keeps her eyes on grown-up women with remarkable intimacy. Here the moment the director meets the Cavallini sisters, he doesn’t have much room for a certain glow that is seen in the previous ones. It is a difficult time for both, not only of sadness but of pain for what was not there. Pain that almost certainly sounds like a cry on more than one occasion, so deep that the viewer is sorry.

Cavallini created a pair of pianists who had their moment of fame. They have been exposed by great personalities like teachers Carlos Gustavino, who had a fruitful relationship with “The Cavallini Girls” when, in the late 1940s, they premiered the two piano piece “Tres Romance Argentino” at the Odeon Theatre. He traveled to America and returned to the country after the race was over. Although she initially meant that it was “this country” that prevented continuity, the truth is that one of them decided one day she didn’t want to play anymore. He postponed that concert and never went on stage again.

surrounding view

In a tiny apartment, dominated by a grand piano and a huge painting, both of which depict women when they were young, Alvarez lets the camera record the everyday and the intimate. Memories, fights, old pictures, forgetfulness and memories. Viewers sometimes feel that it invades their lives and generates mixed feelings, what’s the point of peeking into the lives of those two women at sunset, remembering something they hadn’t even dreamed of? The film closes by recapturing the art of Cavallini, a genius owner that, without this film, many of us would never have known.

who if we know his work collectively and his talent is that of director Maria Louisa Bemberg, in the movie Alexander Mackis, Maria Luisa Bemberg: The Echo of My Voice, her feminist status quo, her extremism recovery from the art and the street.

From a great job of recovering a collection of interviews and texts by Bamberg himself, the director manages to illustrate these statements with his cinematographic work. Although linear in its structure, chronological at times threatens the overall gaze, the film shows a creative woman, convinced of her discovery and the tools of the art with which she seeks to work. A remarkable interview with my friend and producer Lita Stantic It also serves to illustrate his development as a filmmaker.

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Those of us who remember the impact he made at the premiere of his debut Moments (1981) Amidst the dictatorship we know that there was something in that work that challenged us. A married woman with a traditionally happy marriage decides to leave her husband and have an affair with a younger man. It seems strange, forty years later, to explain that it was the cause of criticism, protest and censorship.

Maria Louisa Bemberg

Making films was part of the feminist militancy of Bamberg, the daughter of a wealthy family, who spent her childhood in Paris and was educated by the regime to become a cultured and well-married young woman. The film (re)builds that story in relation to each of his films and is a valuable document to understand his cinema and his times.

make tragedy beauty

subject of double (or carbon copy, according to the German term, which refers to the phantasmagorical double, threatening or evil alter ego) has been treated several times in both cinema and literature. jesus lopez The setting unfolds with a story that has some interesting features: the identification process takes place over the passage of age, in a setting that determines the characteristics of the main character – a small farm of traditional family production away from the urbanity. – and the existence of the other’s strong family mandate.

Scene from “Jesus Lopez”

Jesus López was Abel’s cousin, who was older than him, a local class car racer in a rural area, and died in an accident. Abel will take the place of Jesus. Jesus’ parents look to him to find someone to replace their son, and Abel finds a way out of the family farm in that house. Feel yourself running forward through that transformation, in the appropriation of that ghost; Jesus’ parents justified him and gradually imposed their commandments on the new son; Slowly his mother and sister understand that there is no place for him in that lost world of the farm.

Other and outside, myth and salvation, mirrors, rites and prayers, order, the passage of age counted as something else: poverty of life forms and slow destruction, long cycles and a hegemony of joy in identity imagined Search. they work on it Schönfeld And in Almada In the screenplay, which is sharply nailed down by the director.

Around a death comes another pain night stoneMILF’s new movie Ivan Fund, based on a script by santiago lozaWhose film has a recognizable mark. Meeting of the two creators who worked together Lips, gives rise to a story that sets the glorious record of finding a way to protect the environment, the violence of which enable real estate business owners, the heroic dream of childhood and love. Film love, friendship and pairing.

NS night stone The one the title refers to is an item that allows a monster to evolve to other levels, created by a child in his own little video game artifact. This green and pink monster with mosquito legs is fighting to destroy cities and buildings. The boy dreams, who is with his parents on the shore, is a battle of many against an oil platform built on the sea.

The child disappears and his backpack will be visible only months later. Stuffed with your favorite games, a flashlight, and a telescope, that backpack is what’s stored in that beach house. When her parents return to unload her luggage, they discover that a monster is breaking the cable and preventing the platform from working. No one can see that mythical monster, but he exists. Could it be that demons can only see what they love?


Ivan Fund’s film builds a discourse about committed and benevolent love, complete and clear, around a fantastic tale dotted with childhood demons. complete story with simplicity night stone manages to turn tragedy into beauty.

*close*, night stone And jesus lopez can be seenE-way online and free on site, Maria Luisa Bemberg: The Echo of My Voice It will be released in commercial cinemas in April 2022.

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