Masterclass with Tamae Garateguy
«There is no better school than independent cinema»
The tenth anniversary of UPA!’s, Una película argentina (An Argentine Film), happened to be the ideal context to organize this talk in which two if its directors went through their filmography and shared secrets, anecdotes and tips for a Recova theater full of attendees.
A decade ago, Tamae Garateguy, Santiago Giralt and Camila Toker irrupted in the national cinema scene with a collective comedy that portraits, as no other, the miseries and virtues of making cinema by the sweat of one’s brow. “We met here, at the Semillero de talentos of Mar del Plata International Film Festival”, Tamae remembered. “The urge of making a film united the three of us. UPA! was born thanks to the desire of shooting by all means”.
Garateguy -who will be presenting her last film, Until You Untie Me, running in the Argentine Competition- talked to Santiago Giralt. The conversation quickly became a lesson, a guide by two filmmakers who can offer a look from the core of today's scene. Both know the Festival very well. During their careers, they took part in many sections of it: From the Semillero de talentos to Raymundo Gleyzer Contest, Winners of the Work in Progress section and participants of the Argentine Competition. “We want to share what we lived because we can tell you things we would have liked to hear when we were starting”, Giralt explained while images of his filmography were projected so as to share the experiences of every process.
Making cinema without the support of big multinational producing companies is not easy -we all know that-. And it's twice as hard when the director is a woman. “Making an independent film is the best school there is, as every decision is for the director to be taken. The only difference is that a woman has to explain four times what a man explains once. The lack of trust is still huge.” Garateguy's advice to the young ladies sitting on the room was to dare. To make the films the dream of making. “You may end up working with the person sitting next to you.” Ten years ago, the most interesting names of contemporary national cinema were taking their first steps. Who knows what authorial duo might be developing among the audience of this 32nd edition?