«We want to portrait human bonds in a particular circumstance»

Gustavo Biazzi presents his film, running in the Argentine Competition.
 
The evolution of a group of friends in the last stages of adolescence is the main topic of Gustavo Biazzi's cinematographic debut. The transition to adulthood is explored through a lens that is free from prejudice and the clear influence of his previous work as director of photography in terms of aesthetics. Biazzi makes a feature film that, through the point of view of the protagonist, incarnates that phrase by Vinicius de Moraes: “the most beautiful thing in the world is to live each second as if it were your last.”

 

 

The film transmits a very particular sensation of reality of a tangible naturalism. How did you work on the story and how did you take that to the audiovisual terrain?
 
When we were writing the script, we emphasized the ordering of the situations so the story moved forward and wasn't limited to anecdotes, but what interested us the most was to portrait human bonds in a particular time and place. Maybe the sequences transmit that sensation of reality because they are very easy to recognize in emotional terms. The team work set the general tone. Many of us who took part in the process are friends and have been working in cinema for years. We enjoyed debating everything, specially the characters’ behavior. While we were shooting, I had the feeling everybody was, somehow, expressing themselves.
 
How were the audiences for The Bums approached? What were you looking for in each of the actors and actresses of the cast?
 
The audiences were intermittent and they took several shapes. The first meetings served to know actors from the Argentine Littoral. Then, when we were already inclined towards some of them, we organized a series of encounters where we would spent some time together, eating asado and chatting. Until we finally got to a stage were we worked with interpretation techniques on scenes of the script or on situations we invented specially for the rehearsals. We wanted the actors to generate that sensation of complicity and implicit messages that is at the back of these type of bonds. We wanted them to exploit their playful side and feel free to create their characters.

 

 

How was the experience of leaving the direction of photography to position yourself as the filmmaker of your first film?
 
The director of photography and I are friends and we have been talking about this film and working on it for several years now. We had visited the locations and designed the camera staging with a lot of precision. I didn't pay much attention to lightening during the shooting. But I liked what I saw and I was feeling comfortable. It was a very simple process in that sense.
 
What were your referents when it came to imagining this feature film?
 
The starting point was the memory of situations I've been through. But the film's making slowly transformed them and now only some crucial elements of them remain. As regards aesthetic referents, I took none; they started appearing while I imagined the film:  Vinicius de Moraes, Ramón Ayala, Roberto Arlt, Charles Chaplin, Federico Fellini, John Casavettes, Robert Bresson, Lisandro Alonso, Lucrecia Martel, and others.
 
What are your next projects?
 
To keep working as a director of photography. I have some ideas for a new film but I’m slow when it comes to process them. I supposed I won't be directing again in several years.

 

 
Ezequiel Vega

 

 

Screenings
Today, Wed 22, 10.30 am ALD4
Today, Wed 22, 9.10 pm ALD4
Thu 23, 3.50 pm ALD4 
 

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