Argentine shorts: Around the country in 13 stories

Once more, short films flood the Festival screens with stories which sum up all the magic of cinema in just 15 minutes. Great narratives in small packaging which make us laugh, shiver or feel thrilled with the same intensity than full-length films. The format, before relegated to young directors giving their first steps, is gaining more adepts and is consolidating as a genre in itself. This year, there were more than 350 national movies submitted for the category, setting again a record of films for the Festival. The Argentine Competition presents a selection of 13 short films of great quality, which will be screened in two consecutive programs.
To have a look of what is coming soon, on behalf of the Festival we asked the filmmakers to tell us how the idea of their short films came up. Here are their answers.


                    
Rust, by Víctor Daniel López
Rust is the undergraduate Thesis of a group of students at ENERC. The short film original idea comes up from the old magazine Fierro, which served as frame of the post apocalyptic and industrial esthetic of the famous illustrator Chichoni. Our work represents a critic of a humanity unconscious of the damage their activities do on the world and, consequently, of the population itself. People suffer from a grotesque infection related to the concept of rust, which implies the subsequent exclusion and dehumanization of society, turning people into obsolete pieces who are no longer able to be part of the system. However, in spite of such level of destruction, there are always these things capable of showing the kindness and beauty still remaining in the world. 

     
 
On Practices and Customs, by Marcos Montes de Oca
The motivation and seeds of this idea are the so called "hand clapping games” generally played during childhood. A recompilation of the different "songs” was made and the content of each one was analyzed. It was an intense work. It’s rather peculiar the automatic way certain costumes or cultural practices are repeated. Independently of the genealogy of each song, almost all (if not all) have a very dark content and I considered it necessary –and attractive as well- to exhibit this in an audiovisual way. Therefore, on the basis of "Doctor Jano, Cirujano” (doctor Janus, Surgeon) a narrative was built on the lyrics of this song, that attempts to show this darkness from a film setting which resorts to the alienating effect and the parable as fundamental supports.

     
 
Este amanecer es un ejemplo, by Leandro Naranjo                 
I urgently needed to make a film. Not as soon as possible, but with an urgent and imperative need. With urgency; because I don’t know any other way of making it.

     
 
Corp., by Pablo Polledri
I feel that the idea of portraying the human ambition and the voraciousness of corporations was a long latent topic in my mind until I finally visualized a way of representing it in animated form. Then I started to work on the script. Making this short implied a great challenge because I tried to represent complex concepts of the economic system and I did it independently during several years being totally in charge of all the processes.

     
 
I Am Buenos Aires, by Tomás Gómez Bustillo
The idea for I Am Buenos Aires comes up from an observation: thousands of films have Buenos Aires as the background where stories happen, but I had never seen the city as the main character. Then I got the idea of a character who believed to be the embodiment of Buenos Aires spirit,  with the same name of the city by chance (or fate), a kind of picaresque, magnanimous prophet without a cent, loudmouth and charming. All the contradictions found in the city could be also found in him. There lies the need that his story was spectacular, as mad and eclectic as the impossible and the lie. It depends on the audience whether to believe it or not.

   

             
To the Silence, by Mariano Cocolo
In To the Silence I did not only want to tell the voyage of a man to the mountain. It’s the attempt to reach a place far from the established, a context which is not his or his ancestors’. On his back, Miguel carries the weight of a part of his life. This voyage is the decision of a man who lives an imposed reality which doesn’t belong to him to return to his origins and close a cycle to start a new one.

     
 
Cousins, by Magdalena Sáenz
Cousins comes up from the need to find a common place among 7 friends who wanted to make a short. We felt like making something that shows our very essence and we decided to move towards an atmosphere we all knew very well. From elements such as the heat, the weekend house, the swimming-pool, the boredom, etc. we plunged into the issue that in some way or other most interested all of us: the complexity of family relations.
Cousins is the materialization of the memory of making a short film process by a group of friends giving their first steps in the world of cinema.
In this sense, this is a very special movie for me as a director as well as for the rest of the group who was part of it.

     
 
Ý Berá - Bright Waters, by Jessica Sarah Rinland
In his book ‘Animals in Films’, Jonathan Burt describes the filmmaker Cherry Kearton as an invisible photographer of the late 19th century. He moved carrying an oxen taxidermy that he fixed in fields, ponds, near bird nests, dragging inside it with the camera lens rummaging through the hole in the head.
I did not wear camouflage or got dressed with capybara fur, but I did hide still and waited patiently. Hidden inside an animal or hidden in plain sight – patient and still as if there’s nobody there, only setting a strange object in the space, that lens with some hints of human smell- you cannot cheat an animal.

 
     
 
Hey You Come On, by Gonzalo de Miceu  
In the short Hey You Come On we wanted to work the recurrence of an obsessive thought one cannot control. This thought has its own rules and it becomes somehow materialized, competing with the main character’s reality. Rivalry between both imaginaries is contaminated in the search of a proper reality. Hey You Come On was shot in 8 provinces in Argentina, in unexplored locations. The hostility of the places allowed us to distort the Argentine landscapes to create a fantastic vision of the space.

     
 
The Hole, by Hernan Garbarino
The Hole talks about a point of no return in the relation between two friends, and from there, it explores the way bonds are built based on the exercise of power. It was made independently, with the willingness and effort of a very generous technical team. I am very happy to release and share our work in such a special screen as the one of the Mar del Plata International Film Festival. I hope this is the first of many ones to come.
A Fairy, by José Militano
This idea came up unexpectedly, and it’s based on the character of a movie made by the same team.  The main character is a boy who is constantly mentioned in this other world, so we thought he deserved his own story. After, all we had to do was surrounding him with new characters and places in order to have a short made with little details and, we hope, some magic.

     

   
A Fairy, by José Militano

This idea came up unexpectedly, and is based on the character of a movie created by the same team. The protagonist is a child who is constantly referred to in that other world, and we thought he deserved his own story. Afterwards, he was only surrounded by new characters and places until having a short fact of small details and, hopefully, a little magic 
     
                          
Bats, by Felipe Ramírez Vílchez
Our documentary attempts to tell the way Bats feel the world, through their love for soccer and their passion to improve themselves. The players give us their image and their voice to something they could never see. What kind of audiovisual would we look for, then? This question made us look for a complex horizon, but not an impossible one; that is, to make a work for sighted people as well as blind people.
This short is about people who made from their condition an option; who took what life had given them and didn’t complain; who stood at the goal of difficulty and put the ball in the top corner. This epic story doesn’t have heroes or voyages, it doesn’t have villains or castles, it has passion, blood, sweat, tears and soccer… lots of soccer.
 

     
 

The bijou, by Paula Magnani and Lucila Presa
The Bijou originates on the need to move to action. We wrote the script for a full-length film but we felt it lacked maturity so we decided to begin to amass the universe, to get out of script. There is when Diana Provenzano appears. Her energy captivated us in such a way that we started experimenting with and giving form to our character. At the beginning, we gather to share experiences and reflections. Soon, we started improvising, then we incorporated the camera and last, characters from real life. The idea got much movement but it still didn’t have form, so we decided to write a script and make a short. The process was wonderful, with a very rewarding team. It was essential the experience and talent of Adriana Aizemberg and the confidence of Nacho Albani and Zawditu Nadal in their film debut.

     


 
 

 Program 1:
On Practices and Customs, by Marcos Montes de Oca
Cousins, by Magdalena Sáenz
I Am Buenos Aires, by Tomás Gómez Bustillo
Rust, by Víctor Daniel López
A Fairy, by José Militano
Ý Berá - Bright Waters, by Jessica Sarah Rinland
Jue. 24 nov - 11.30 - ALD 1
Jue. 24 nov - 20.00 - ALD 1


Program 2:
Corp., by Pablo Polledri
Este amanecer es un ejemplo, by Leandro Naranjo               
Bats, by Felipe Ramírez Vílchez
The Hole, by Hernan Garbarino
To the Silence,  by Mariano Cócolo
Hey You Come On, by Gonzalo de Miceu  
The bijou, by Paula Magnani and Lucila Presa
Vie. 25 nov - 11.30 - ALD 1
Vie 25 nov - 20.00 - ALD 1

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