The director presents his film, Samuray-s, in the Latin American Competition
After presenting Fávula in the 29º edition, Raúl Perrone is once again part of the Latin American Competition with his new film: Samuray-s. The director, born in Ituzaingó, tells three different samurai stories with the aesthetics of expressionist silent films. Perrone reinvents himself over and over again with a poetic language, stressing the pictorial resources.
"Samuray-s was born one day when I felt like doing a Japanese movie. I never thought I’d do a samurai film or anything like that, since I had never done anything like that before”, he recalls. "I asked my workshop students to play Japanese people. It was more difficult than looking for Japanese actors on the street. I watched a lot of kabuki theatre and I love Japan’s poetics and culture. I wanted to tell a story divided in three parts, as I’ve been doing since P3ND3JO5 and Fávula, only that now I have three samurais. Then, many things came along the way”.
How did you choose that particular aesthetics? Why did you choose to make it expressionist?
I don’t know. I wanted it to be like a film from the 20s. As if it was some footage you find in a jewelry box with some scenes missing. I wanted a plastic work. It’s connected with my painting and illustrator side. Working with all of that without paraphernalia. All in a very simple way, as I usually do.
What technical challenges did you face?
The biggest challenge had to do with the new spaces. I don’t have the infrastructure to set up a studio with a giant chroma. We did it in an austere way. Three or four people doing everything, and we put a lot of concentration to what we do. Then, other issues come up and we try to solve things the best way we can. It takes a lot of work. We do it in a very short time, but I always pay a lot of attention to the aesthetic-visual part. We worked a lot with the actors, so that, apart from the Japanese part, the relationships could be well developed and we avoided forced things. I tried to make it as natural as possible. They know there won’t be any dialogues, but it doesn’t mean they have to be over the top or make too many gestures. I do things that have to do with the past but looking into the future. It’s important that people fully understand what’s going on. We talked a lot. And the challenge was to create fights I had never done before. Anyway, those are not things we are used to watching. We worked with ellipsis. It had to be real to me. It’s important for them to be focused on what they’re doing.
Thanks to P3ND3JO5-2013- Raúl Perrone’s films started circulating in new places. Recently, the Viennale made a retrospective of his work.
"In Europe, they are starting to discover my work now. After P3ND3JO5, people started discovering my films in different festivals. I made 38 films and only now they are starting to discover my different stages. I had many stages: La mecha has nearly no dialogues and Bonus tracks is almost a musical. I have a trilogy with Asian actors. I’ve always made films in Argentina but I’ve been around. I look ahead in order not to do anything. I’m very surprised with the reception of my films right now”.
What does the Mar del Plata film festival mean to you?
Until last year, I had never been in Mar del Plata. I was very surprised by people’s warmth. They treated me very kindly and the reception of Fávula was very good. I liked the respect, and I hope to see that in this edition as well.
THU 5, 1.10 pm, CIN 1
THU 5, 9.40 pm, CIN 1
FRI 6, 4.00 pm, CIN 1