It’s just a matter of attitude

With the filmmaker Tamae Garateguy as guest, the last lecture of the Genre Cinema Seminar of the Festival was given. The director spoke about her professional career, her relationship with the environment and how provocation can be one of the attractive things that set off  the tour around different festivals.

A common denominator that is highlighted in every conversation in national festivals –or even after independent screenings- is the degree of existent comradeship in the genre cinema scene. Although competitive spaces that link a great part of the local panorama of that segment exist –Buenos Aires Rojo Sangre festival, 1000 Gritos, or the exceptional Mar del Plata Fantástico-, any space is welcome as an excuse for directors, producers and characters of the environment to join together and support them mutually, as a kind of brotherhood.

Even with the difficulties that involve staying in Argentine theaters and the limitations imposed by Hollywood’s tanks, Garateguy encourages the present audience not to go unnoticed if they wish to enter the festival grounds. "My advice is not to self-censor you. Send copies to every festival you can; you can submit a work to Cannes without any expectations and suddenly be selected. 

Tamae Garateguy –production maker with a unique style of sex doses and ultra-violence- understand that the Argentine cinema is in its Golden age, and that the community that includes the niche of terror or suspense works as a friendly and necessary rendezvous point. "Everyone takes someone else’s victory as theirs. We invite mutually to screenings, speak in pubs. In other environments that does not happen”, Garateguy comments.

 
Although there are distributors interested in discovering new talents, and the payment for this kind of jobs is growing, Garateguy gave a list of unavoidable festivals for everyone interested in getting close to this particular world. 
From Asia –Bifan, Scream Queens, North America –FantasticFest, Etheria, South by Southwest –Europa –FrightFest, Sitges, BIFF- to Latin America –Mórbido, Pantaspoa, and the previous mentioned in our country-, the interest for our genre keeps expanding, even to other markets. "Class A festivals give much importance to Midnight sections, such as Sundance or Toronto”, the interviewee adds.

When starting a new short, medium or feature film, a new universe of gigs and travels opens, focused not only on enriching the production but also on opening a landscape of contacts for directors and producers from all around the world. "You do not have to be shy”, Garateguy comments. "The most important thing is to pitch what you have and socialize as much as possible. Moving around festivals opens many doors”. And if –besides travelling around the world-, the production gets awards or mentions, that adds prestige and recognition that legitimizes the effort and the own work.

Another of the elements to consider according to Garateguy is the politic incorrection; that is to say, departing from the provocation to highlight on the general panorama. According to the director "the tidiness does not tie with the search of provoking. I do not know if nowadays that kind of comfort is interesting”.  

From her own experience, the search for support and the circulation of her material departed from carrying element such as posters, photos or some teaser that allow to persuade about the strength of the product. "I made virtue from defect. For those who did not think I could make my film as I wanted, I shot and carried a video. But in truth, do not abuse; over 40 seconds of a video can be very boring”.

The fantastic feasts are the home where all genre directors want to arrive. The most important thing –above all- is getting there with a defined identity, being able to be as you want, and be represented by the result. "You have to find your own place; departing from the local, with strong visual content and, obviously, a good story. These things together are the ones that attract the attention; that put the eyes on you”, Garateguy suggests.

Ezequiel Vega

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