The first day of the 5th Forum of Film and Gender Perspective was held at the Club Español. The event was included the presence of Alejandra Portela, teacher, film historian, dean of the Faculty of Arts of the University of the Argentine Social Museum; Sofía Victoria Díaz, a graduate in Combined Arts from the Faculty of Arts, Design and Cultural Sciences of the National University of the Northeast, teacher and performer; Paola Rizzi, director of photography, teacher and president of the Argentine Association of Cinematographic Photography Authors (ADF); and the filmmaker and teacher Clarisa Navas. The Forum was moderated by Dr. Lorena Saletti Cuesta, CONICET researcher and member of the Central Unit for Gender Policies of the Rector's Office of the National University of Córdoba.

The person in charge of presenting the activity was the programmer and former artistic director of the Festival, Cecilia Barrionuevo. "The Forum originated in 2018. Since then, we have made profound changes within the general structure of the Festival to pay special attention to different gender issues," she stated. In addition, Barrionuevo referred to the spirit of this space since its first edition: "We wanted to build a way of meeting that would help make visible, problematize and reflect upon gender inequalities, and try to create an organic model within the context of the Festival."

Alejandra Portela emphasized inclusion and diversity within the academic field: “The chairs of History of Art and Film are, for the most part, female. The number of female historians has also become greater than that of male historians, but film criticism continues to be a reticent space. Even so, these data do not ensure access to an egalitarian perspective or an abandonment of installed canons of “binarist” and dichotomous or class stereotypes, or with everything being centered in the Capital City [Buenos Aires].

Sofía Victoria Díaz focused her dissertation on the representation of trans people. “Trans identity is an image that is obtained on screen: the media, cinema or social networks. They don't know us and the judgment is issued because of the monstrous stereotype that is built by the media," she said, adding: "I want all diversities to be able to, at least, have an idea of​​positive representation on the screen and say: 'Tomorrow, I can be a film director'. That is why these spaces are of the utmost importance.”

Paola Rizzi introduced into the debate the problem of the female quota in technical areas, both in cinema and in television and advertising, and stressed the importance of investigating the number of female students in the country's film universities. Rizzi closed her presentation with a message to those who are taking their first steps in the film industry: “If one loves film, she doesn't have to stop insisting; if one hits a glass ceiling, she has to reinvent herself.”

For her part, Clarisa Navas invited making visible and reflecting on inequalities not only of gender but also of class: “It is very necessary to create from the lower and working class sectors. The conditions do not change if they continue to be narrated only by those who are able.” The filmmaker insisted on the urgency to make it so that "possibilities are open to more people and so that other types of women can make films."

After the exhibitions, there was a space for debate and exchange between the speakers and the public present, as well as an invitation to participate in the second day of the 5th Forum, this Saturday, with the participation of Vanessa Ragone, Jael Caeiro, Carmen Guarini and Alejandra Flechner.

The Tribute: 70 Years of Cinema Club Núcleo was also held at the Club Español. Alejandro Sammaritano, director of the Cine Club, and Hernán Gaffet, director among other films of Un hombre de cine, about the producer and distributor Néstor Gaffet, participated. The presentation was moderated by Pablo Conde, artistic director of the Festival. Among the attendees, were Nicolás Batlle, president of INCAA, and Fernando E. Juan Lima, president of the Festival. The meeting focused on the centrality of the Cine Club Núcleo in the history of film distribution in Argentina, from its beginnings in 1952, with the screening of the film The Covered Wagon, by James Cruze, to its presence at the Gaumont Complex and its current importance to publicize films by Argentine filmmakers. The tribute had as its central point the figure of Salvador Sammaritano, founder of the Cine Club.

Alejandro Sammaritano elaborated on the important figures who were regulars at the Cine Club Núcleo: José A. Martínez Suárez, Leonardo Favio, Leopoldo Torre Nilsson and Fernando Birri, among other renowned filmmakers. The exchange featured numerous anecdotes that hinted at the love for movies of those who have given life to the Cine Club for 70 years. Gaffet highlighted the importance of Salvador Sammaritano and the Cine Club Núcleo in the filmmaking training of the filmmakers of the Generation of 60 and, in general terms, highlighted the training of audiences as one of the fundamental goals of film “clubism”. Paraphrasing director Germaine Dulac, a pioneer of film clubism in France, "the future of cinema is in the hands of the public." Along similar lines, Alejandro Sammaritano pointed out that "it is important to protect the habit of going to the movies." During the conversation it was mentioned that film clubs are areas of film resistance. It was also said that those countries that have a national cinema library have better opportunities to preserve their film heritage in good conditions and that it is essential, therefore, for Argentina to have one of its own.

On many occasions, both in the exhibition of Sammaritano and Gaffet and in the participation of the audience, the importance of valuing and honoring spaces that, such as the Cine Club Núcleo, are dedicated to the dissemination of small films that do not usually have the same distribution and dissemination opportunities as films produced by multinationals.


Today, the International Competition continues with the presentation of another of the Argentine films participating in this section: El rostro de la medusa, the new film by Melisa Liebenthal (director of Las lindas), a story with fantastical overtones about a young woman who, from one moment to the next, discovers that her face has completely changed.
The Latin American Competition, on the other hand, presents Trenque Lauquen, the new film by Laura Citarella, a story marked by the mystery of the disappearance of a woman during a work trip, which becomes the starting point for an investigation full of surprises.
The Argentine Competition presents two new films this day. Hace mucho que no duermo, by Agustín Godoy, a dizzying film whose curious protagonist is a backpack that passes from hand to hand in a perpetual Buenos Aires. And Sobre las nubes, María Aparicio's second feature film, a light, floating story about four characters who share the day-to-day concerns of their lives, without ever actually crossing paths.
Meanwhile, the Altered States Competition presents Alan Martín Segal's feature debut this Saturday. Via Negativa, a microworld of codes and secrets for a meeting between young people who make up a small criminal brotherhood.

The Gala section of the Festival begins today with two Argentine titles. On the one hand Sublime, a warm story of love and teenage friendship directed by Mariano Biasin; and on the other, El método Tangalanga, by Mateo Bendesky, a unique biography of the famous Argentine comedian.
This edition of the Festival is dedicated to the great Leonardo Favio, ten years after his passage to immortality. This Saturday, three of his films will be screened: Nazareno Cruz y el lobo and El dependiente at the Cine Colón, and at the end of the day Juan Moreira at the Auditorium, a screening that will surely be unforgettable.
This year the Original Soundtrack (OST) section returns with its rhythms, and does so with a very special screening: Hallelujah: Leonard Cohen, a Journey, a Song, by Dayna Goldfine and Dan Geller, a film that traces the life of the Canadian singer-songwriter by following the tracks that made his most famous song a myth of world pop culture.

And finally, another Midnight Screams party night to close out the day: Los espíritus de la isla, by Martin McDonagh, a black comedy set in 1920s Ireland about a conflict between two lifelong friends: without explanation, one refusing to speak to the other ever again.

At 3:00 p.m. in the hall of the Auditorium, the first of three sessions of Coming Soon (Lo que vendrá) will take place in which filmmakers and critics and film programming specialists will recommend the must see films of the following three days in a panel open to the public.
At 3:30 pm in the Club Español, three essayists, critics and intellectuals will open a discussion entitled Framing Favio (Encuadren a Favio), a talk in which the participants will present their points of view about the great Argentine director. With Yamila Volnovich, José Ludovico and Pablo O. Scholz. Bebe Kamin moderates.
In its series Conversations with Masters, the Festival offers the opportunity to learn about the work and career of Marcos Uzal, a Spaniard living in France, who is the current editor-in-chief of the legendary Cahiers du Cinéma and was a programmer at the Musée d'Orsay, as well as of working as a critic in the magazines Trafic, Vertigo and Cinéma. At 17:30 in the Club Español.

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

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