Universes of Stories II - Part II
The competing Short Films will be screened today. The following are the director´s comments.
Pixied, Agostina Ravazzola, Gabriela Sorroza – Argentina – 2017 – 9´
We wanted to speak about the modern-life routine through Pixied
, about how sometimes objects can rule your life. About how sometimes we live as if we were set in autopilot and we had no control over our daily lives. And we decided to frame all that in his realization that he is, in fact,just a character in a set. It is only after he discovers the truth and understands who he really is that he can rebel and find how to escape his routine and the objects that chase him and trap him. We think of ourselves as animators more than as filmmakers, so animation is the genre we choose to express ourselves. And what better expressive tool to use than the language of pixilation, a technique which serves as the base for this short film and shapes its format and its context at the same time?
Twelve Nails, by Paula Hernández – Argentina – 2017 – 15´
This short film emerges from the desire of shooting. In the idle times during the making of feature films, the urge to shoot arises. Twelve Nails was written a while ago but it was saved in a hard drive that was opened at the right time by accident (and by fortune!). So I got back to work and I focused on the last hours of their relationship. I don't need to judge, I’m just interested in the emotional fragility of their bonds. In the beauty in sadness, in the crude portrait of naked bodies, in the passing of time reflected in those bodies, in the characters' loneliness, where what appears to be inoffensive ends up being devastating. Twelve Nails is what the night masks but the daylight forces us to see.
In the Amazing Communication Age, by Augusto González Polo – Argentina – 2017 – 15´
I feel nowadays human relationships face crises because of external factors that didn't even exist a few years ago. The fact that when you look up in any corner or any bus you see every pedestrian is checking their phone is a symptom of something we don't know where it's going. All of this becomes significant when these habits are seen in anachronistic contexts where just a while ago it was hard to tell in which decade we were. Far from the cities, where everything is present in the same proportion but in different quantities, these habits differ in volume.
Fear, by Juan Pablo Menchon – Argentina – 2017 – 10´
We wanted to shoot Fear
for a while now (we almost did it in Madrid long ago; we almost did it in Buenos Aires not so long ago), but the day we met Ari and Peque we realized we had been waiting for them from the very first day. Nothing is more important, when it comes to shooting a dog and a kid, than their friendship. And these two friends are one. The same way they appeared in our lives, we cruised along Route 2 surrounded by that four-days-long magic act, looking for sunrises, starting bonfires, playing with test tubes, getting foggy with the pool steam. Seven friends lovers colleagues brothers cousins, making a movie in the most beautiful way ever. Ari has never seen the sea or been to the movies, which I don't think is a coincidence. I think magic is still out there.
Oriental Passion, by Santiago Korovsky – Argentina – 2017 – 13´
This film came up within the context of an exercise in Mauricio Kartún's drama workshop many years ago. A couple enters a motel room after meeting for what could be their last date. It is, somehow, a short film about the obstacles of lifting your guard and showing compromise. I contributed with my own experiences encoded as humor and the process served as some sort of exorcism of certain stage in my life. After rewriting the script a couple of times, I got a grant from the Fondo Nacional de las Artes (National Endowment for the Arts, Argentina) which helped me make the film.
Today, Mon 20, 3.50 pm ALD4