Camarera de piso


Lucrecia Martel
Duration: 12 min.
Country: Argentina
Language: Español
Year: 2022
Friday 4th, 16:40 hs., Del Paseo (Sala Paseo 1)
Sunday 6th, 13:40 hs., Del Paseo (Sala Paseo 1)
Monday 7th, 13:40 hs., Del Paseo (Sala Paseo 1)

I had been proposed to look for ways of relating contemporary dance to the audiovisual language. I decided to focus on the continuous movement of the body and the discontinuous movement of the audiovisual language. The short finally became an exercise on linear and nonlinear time. Linear time is found in the plot—a woman is practicing for a job as a maid as her family goes through a hard time. Nonlinear time is found in everything else that belongs to the audiovisual language. As it is brief, it is easily observed. And what is left to talk about is what a plot is. Without even appearing, contemporary dance became useful for this short. Fortunately, and as it happens, where an intention fales another intention surfaces, destined to fail sooner or later. (Lucrecia Martel)

Lucrecia Martel

Lucrecia Martel

Lucrecia Martel was born in Salta, Argentina, in 1966. Her first feature, La ciénaga, opened in 2001 (16th Festival), followed by The Holy Child (2004), The Headless Woman (2008) and Zama (2017). Retrospectives of her work have been shown at such institutions as Harvard and Tate Modern

Data Sheet:

G: Lucrecia Martel
F: Federico Lastra
E: Iair Michel Attias
DA: Edna Mostyszczer
S: Víctor Tendler, Guido Berenblum, Manuel De Andrés
P: Hugo Villa Smyth, Santiago Gallelli, Benjamín Domenech, Matías Roveda
CP: UNAM, Rei Cine
I: Jorgelina Contreras, Daniel Valenzuela, Anavelí Acero, Ariel Gigena


Rei Cine
Brenda Erdei
IG @reicine