Marcelo Alderete

They say he is one of the country's top experts on Asian cinema –and cinema in general. He is also one of the programmers if this Festival, of which he delivers a comprehensive view.




“After many years in this line of work –a 20th century craft, like G. Caín used to say– I can honestly say that there are two types of programmers. On one hand, those who used to watch films when they were kids because it was what they liked to do the most, and that was their whole world, and life lead them to make that a profession –despite what they studied or their previous jobs. And they are lucky, because in most cases they have no other skills in life. That would be the cinephile area. The other ones are those who got there through some sort of cultural study, and regarded cinema, and festivals in particular, as a way to belong to that world of culture and art. To put it a bit more bluntly, the first ones have an emotional connection to cinema, and the other ones a more intellectual one. Each group has its good things and bad things. And strangely enough, there are people who belong in both worlds. Obviously, I won't say which one I belong to”. 


That is the self-presentation of Marcelo Alderete, a programmer and critic who worked in BAFICI between 1999 and 2009. He also collaborated as a guest programmer MALBA Cine, the Lugones Theater in the San Martín Theater, the MACBA (Buenos Aires Contemporary Art Museum) and ANTOFADOCS (Antofagasta International Film Festival, in Chile). He also writes for Haciendo Cine magazine and the Encerrados Afuera website. When describing his work, he "defends" a film he saw because he sees how “the people who made it use cinema as what it is: a language, and not just a tool, or a trade, to tell stories in a more or less proper way”. 


For this edition of the Festival, he chooses to describe the participation of Jean-Pierre Léaud as a historic element. And provides good reasons: “as an actor, he marks the beginning of the French New Wave with The 400 Blows (1959) and he is also the death certificate for that movement with The Mother and the Whore (1973). He is an actor who represents modernity in cinema. One look at his filmography is enough to realize his historical importance. There are no such characters anymore. Godard, Anna Karina and only a few others…”.



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