The first of the special activities that took place this Thursday was the Experimentation Workshop for film and acting students, which the filmmaker, screenwriter and actress Ana Katz gave together with the screenwriters Alejandro Jovic and Daniel Katz, for the more than 180 young people who attended the program at the Club Español. The meeting had a theoretical half, in particular connected to the work of writing a script, and another practical half, in which the director led a series of exercises that put the participants into action and that she described as "a job that will lead to reflection and connection”.

Katz herself took it upon herself to enumerate some of the subjective parameters that would determine the success of the workshop. “Meeting someone or deepening a relationship with someone they came with” was the first objective mentioned. She immediately added that she hoped that the participants would leave the workshop having managed to muster “more courage, for whatever”. And thirdly, she praised confusion: “That they manage to leave a little more confused, because confusion is a great state. Getting confused implies moving from the normal line, from one's own line of thought. It is a state in which one forgets what they believed in.

With humor, Katz developed the directives by infecting each of the participants with his enthusiasm, challenging them to go against their own impulses and break with automatic behaviors. “I hope this space leaves a void for them. But not a void of having come to the workshop, but one that allows them to come up with an idea or something that they had not been giving space to,” said the filmmaker. The workshop will continue this Friday from 10:30, at the same venue.

In the afternoon, at the same Club Español, a dialogue was held with the cinematographer Rui Poças, moderated by Marcelo Alderete, as part of the series Conversations with Masters. During the exchange, Poças, who has worked with filmmakers such as João Pedro Rodrigues, Lucrecia Martel and Miguel Gomes, spoke about his vision of cinema and the role of the cinematographer in the creative process of a film. He also referred to particular experiences in different films in which he worked.


After talking about his university years, which consisted of film, still photography and theater studies, Poças spoke about his beginnings in the cinematographic world in the 1990s: “When I started working, we worked with film and we didn't even have a monitor. The main difference between those times and now is the way of working: that kind of magical and sacred moment of when you were filming and you could not miss a thing.” Regarding his visual references, he said that “they don't come from the cinema. I'm not convinced about using photograms. Most come from painting or other forms of art, even from poems. They seem more stimulating to me.” He also pointed to the graphic novel as a recurring source of inspiration in his work. He added, however, that historically Portugal has had a greater development of letters and poetry than of painting, which has had an impact on modern Portuguese cinema. He also elaborated on his conception of cinema as a collaborative art, to which the cinematographer provides a central creative component. By way of synthesis, he pointed out: "To define a cinematographer I could use an expression: he is a visual storyteller."


Screenings, Friday the 11th

The last presentations of films in the International Competition and the Latin American Competition take place today. The International Competition closes out with How to Blow Up a Pipeline, by the U.S. filmmaker Daniel Goldhaber. A thriller that, set up in the format of heist movies, tells the story of a group of environmental activists who intend to sabotage an oil pipeline in Texas territory. A political film that does not eschew the resources of genre cinema. The Latin American Competition presents Notas para una película, a work in which the extraordinary Chilean filmmaker Ignacio Agüero takes his first attempt at fiction, but without abandoning the documentary resources that he knows so well and handles so well. From this hybrid format, the film addresses the history of the Belgian Gustave Verniory, the engineer who was in charge of the installation of the railway line in trans-Andean Patagonia, at the end of the 19th century.

The Altered States Competition will also close itself out with the presentation of Geographies of Solitude, a film in which the Canadian Jacquelyn Mills makes a remarkable observational record of the particular natural environment of the strange Sable Island. Reversing the usual terms in the documentary about explorers, Mills places the landscape as the protagonist and turns biologist Zoe Lucas into one more element within it.

This Friday the Festival presents En Tránsito / Work in Progress Competition, the classic section of films under construction in which twelve feature film projects at different stages of production will be presented, in search of support to continue advancing with the different processes that are required movie bill. The activity will take place at Paseo Aldrey.

Within the section How long is a century? –one of the most pleasing new sections of this 37th edition, in which a series of silent film classics that reached their 100th anniversary were presented accompanied by live music– a triple screening will take place. It will see La sonriente Madame Beudet, by the French Germaine Dulac, accompanied by two wonderful animated shorts by the German Lotte Reiniger, Cenicienta and El secreto de la marquesa. Musical offering by Atacama – Ensemble of improvisers.

Another of this year's unmissable names will make its presentation within the framework of the Auteurs section. It is the new film by Jafar Panahi, No Bears, a story that begins as an ingenious game of cinema within the cinema, so that the great Iranian director once again builds a deep look at some of the conflicts that cross the society of his country. In addition, within New Authors, Matadero, by Santiago Fillol from Cordoba, will be shown.

Finally, the nighttime Galas will serve as a space in which A Bit of Light, by Stephen Moyer, will be presented; while The K.E.OP/S system, by Nicolás Goldbart, will animate the Open Air Screenings movie nights that take place in Villa Victoria. To tiea bow on the day, nothing better than the traditional midnight movie party of Midnight Screamings, which will close the presentation of the trilogy of films directed by the Frenchman Quentin Dupieux with the premiere of Incroyable Mais Vrai.

Check out the rest of the screenings in the Program Guide.


Special Activities

At 14:00 in the Sala Nachman, the Festival will present the results of the 2022 Argentine Cinema Survey organized by the magazines La vida útil, Taipei and La tierra quema will present the results of the Argentine Cinema Survey. The background of the surveys previously carried out by the Pablo Ducrós Hickens Film Museum will be discussed and possible readings on the results of this new version will be proposed. With Pablo Ceccarelli, Paula Félix-Didier, Mercedes Orden and Ramiro Sonzini. Moderator Pablo Piedras.

The Leonardo Favio Fund: preservation efforts is a meeting in which there will be a presentation of this proposal to protect the patrimonial legacy of the artist, in which his work as a director, actor, composer and political activist can be found. All the material in the collection is in the process of inventory and cataloging. With Melisa Ingas and Valeria Pedelhez at the Club Español at 15:30.

At 17:30, Club Español, the Festival presents a roundtable discussion entitled Film preservation and exhibition spaces about the current challenges of film libraries and film archives around the issues of exhibition. With Paula Félix-Didier (Director of the Museo del Cine de Buenos Aires Pablo C. Ducrós Hicken), Mariana Avramo (coordinator of the Cinemateca Nacional del INCAA and organizing representative of the Cinemateca y Archivo de la Imagen Nacional / CINAIN), María José Santa Creu (director of the Cinemateca Uruguaya) and Leonardo Bomfim Pedrosa (programmer for Cinemateca Capitólio de Porto Alegre, Brazil). Moderated by Julieta Laucella Jalif.

Check out the rest of the activities in the Program Guide.

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