Argentinian filmmakers agreed on Thursday that all films by that country’s directors, both political and those of any other subject, be judged under the prism of Peronism, while recognizing that all bands have in one way or another a political position.
Several Argentinian directors participated this Thursday in the round table “Wild stories, extraordinary stories: two decades of Argentinian cinema” at the Valladolid International Film Week (Seminci), where a question from the audience sparked a debate about how critics analyze Argentine films assuming they defend a position concerning peronism.
“For me, it is impossible to make a film about Peronism that does not have a certain position,” replied the director. Juan José Campanella, who underlined that also “it is very difficult to have the will to devote several years of its life to this question if one has not taken a position”.
Filmmaker Mariano Llinas He went further and pointed out that in a film on any other subject it will also be said that it contains a fixed version of Peronism “as if it were some kind of original sin in all Argentinian films. “.
Llinás considered that all films “somehow have a political position imprinted on them. sometimes they are innocent“.
The director and actress Romina Paula He mentioned that there are projects that have a fixed prior intention but end up communicating the opposite, and although they have a strong political background prior to completion, “if they are bad they achieve the opposite” .
The director of “The faculties”, Eloisa Solaas, explained that although this film has no political purpose, he paid attention to this issue and even so “there were people who questioned it by excess and others by default”.
Solaas advocated because politics does not appear in films, not for lack of personal commitment, but because he does not believe that it is a job that should make a film, because in his case he considered more interesting those who “leave more mystery about it“.
In this sense, Llinás said that for him it is “Like a game” and by making films, he leaves the possibility for the public to enter a kind of “speculative roulette”, which he admits amuses him and encourages him to work so that these readings made by the critics are not obvious and that his activism is “secret”.
During the meeting, moderated by Álvaro Arroba and in the presence of filmmaker Martín Rejtman, the directors raised the “cyclical” succession experienced by independent Argentine cinema in aspects such as the use of professional or non-professional actors.
They also spoke about specific aspects of Argentine cinema and the need for a new audiovisual law, since the current one dates from 1994 and since then cinema has progressed on many factors and other platforms have been developed.EFE
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