2024-08-24 03:01:00
“And how could I not believe it, if the sons of bitches rule the world!” The phrase could come out of the mouth of anyone with little room for surprise at the misdeeds of the current power. Or, of someone whose patience has already been exhausted by the everyday situations that a world where Cruelty, contempt and abuse have become central elements of social dynamics. But it is said by the character of a fiction that ten years ago –when it arrived in Argentine theaters– it began to mark a turning point in the lives of those responsible for it, as well as in that of Argentine cinema. A more or less well-known film called Wild Taleswhich since then (and everything indicates that for a long time) holds, among other brands, that of leading the list of most viewed national productions in history, with four million viewers.
Busting the box office was the second milestone, because the first had been a world premiere in the framework of the Official Competition at the 2014 Cannes Film Festival. From there, the penultimate feature film of Damian Sifron, who flirted with Hollywood until last year Misanthropespent the following months touring the world and rubbing shoulders with the industry elite thanks to his more than 40 international awards. A harvest that included the BAFTA British nomination for Best Foreign Language Film, a nomination in the same category Oscar and the Goya from Spain as Best Ibero-American Film.
But perhaps the most enduring achievement is happening right now, when many of the adventures imagined by Szifron, turned to excess at the time, Today they are part of reality and the daily diet of newscasts and information portals. It is not for nothing that these same factories refer to bombed –the nickname of the character of Ricardo Darin who, fed up with bureaucracy, blows up the transport office – every time there are incidents in public offices or street fights. This anthology of six episodes where black humor takes the form of a spiral of violence and madness was dubbed a “comedy” at the time of its release. What will happen now, with the re-release to celebrate its first decade? Will it read the same, or will it be labeled as tragedy?
“I think that He read human instincts very well. I recently went to a television program, TV Overdosewhere they showed current affairs reports and it seemed that everything was set up for the re-release: they were exactly the same situations. Damián made a very sharp reading of our society. Reality is getting closer and closer to the savagery of these stories. Today Bombita Darín falls short, he is shy for the social fury that exists,” he says before Page/12 Julieta Zylberberg, in charge together with Rita Cortese and Cesar Bordon of the star roles in the second story, The rats.
There, who currently stars in the play First Face (see separate) She plays the role of a waitress in a bar on the road, where she enters with an appetite an official of proven corruption. Compulsive abuser, he is the same man who will soon run for mayor, which motivates the phrase at the beginning, and who years ago auctioned off the house where she lived with her family, causing the suicide of her father, harassed her mother and forced her to make an unwanted move. The dilemma of the women – and of a good part of the spectators – is posed by the cook when she grabs a can of expired rat poison from the cupboard with the intention of adding it to her dish: “Are we doing the community a favor?”
“I remember reading the script and telling myself that I had to do it because it was a very interesting project for me. The script was amazing and the cast that was called was also barbaric, so I really wanted to join,” recalls the actress, who at the time of filming The rats –four “intense, long and fun” night shifts in a location near the Buenos Aires town of Baradero– she was a first-time mother of a three-month-old baby and was preparing to film My friend from the parkof Ana Katz. “It was a very difficult experience because my son was very small, and he was waiting for me in a motorhome with a friend who had come to look after him. I kept interrupting and going to breastfeed him. One of those days was dedicated only to the murder scene, so I was in a pool of blood all night,” she adds.
–With the character of Cortese there is a game of mirrors in which you play a more benevolent woman and she, someone with much fewer ties. How was the work together? Was there much rehearsal beforehand?
-I don’t think we rehearsed. We did get together to read with Rita and César, with whom I filmed a very small movie that same year, The 5th WorkshopThey are two great actors, and I remember that she and I laughed a lot during the filming. Damián is a director who makes you say exactly what the script says and repeat scenes until he feels that what he has is right and works for him.
-What do you remember about Szifron? What makes him so special compared to the rest of his colleagues?
-I had something right childish in a good way, as a determined and stubborn child, but also irreverent. Over there he would say “I want this in such a way” and, if I answered that I didn’t know if it was possible, he would answer: “It is like this and like this.” That was divine because it showed how convinced of a lot of things that I was doing. I know that I had been writing the script for a very long time and I had revised it a lot. I was very wary of every word I had chosen, as if the script had some mathematical foundation where nothing went wrong.
–From what you say, I had the film ready in my head and the filming was a materialization of ideas that were already in a certain way.
-Yes, I think he had it all figured out second by second and he looked for an actress. I trusted him one hundred percent; all the ideas were spectacular. It was very easy. empathize and put yourself under their command because you trusted them. If that “transfer” is not created, it is impossible. And it is also impossible if you do not trust the person. It is very easy to follow an obsession when you trust completely.
-Unlike other non-episodic films, where as an actress you have a more complete idea of the creative process, here there was an important part that you didn’t know about. What did you feel when you finally saw it? Wild Tales?
-I had read a whole script with all the stories, so I had an idea, but I had never met the other actors, so when we saw it in a performance all together it was impressive. It was very blunt And as soon as it was over, I said to myself: “Ok, this is going to do really well.” I had no doubts, I thought it was great.
From the screen to the stage
Julieta Zylberberg is 41 years old and a resume that more than one colleague with a couple of decades more behind her would envy. But her career is logical for someone who is in the artistic world. since 1995, when he was part of the staff of Magazine For Faithe emblematic program of that quarry unjustly ignored in the history of national television that was the signal Cablin. Over these three decades he participated in thirty television or streaming fictions, a dozen plays and twenty feature films. A filmography that includes works directed by directors of the stature of Lucrecia Martel (who made her big screen debut in The Holy Girlfrom 2004), Albertina Carri (Gemini), Ariel Winograd (Cheese face), Diego Lerman (The invisible gazework that earned her the Silver Condor), Ana Katz (The Marzianos, My friend from the park, The dog that does not shut up) and Daniel Burman (The King of Eleven).
But today a good part of her energy is deposited, in the family environment, in caring for her second son, Florián, almost ten months old, whom she keeps an eye on while making the video call with Page/12. And, in the work aspect, in First Facethe one-person play starring the Monday and Tuesday at 8:15 pm at the Multiteatro Comafi under the direction of Andrea Garrote and which, due to its good public performance, will extend its season. It is the local adaptation –also by Garrote– of the text written by the Australian playwright Suzie Miller which, in addition to Sydney, has already had versions in London, New York and Madrid, among other cities of relevance on the theatrical map, as reported by journalist Candela Gómes Diez in the praiseworthy review published in these pages.
In it, Zylberberg plays Romina, a young and successful criminal lawyer who works in a prestigious law firm. defending those accused of sexual crimes. “It is a very current work that speaks of the emptiness that Justice and its rules have when it comes to sexual violence, which shows the helplessness in which the victims are left for not being contemplated in the system,” the actress summarizes, and highlights that for her “it is very important to do it at this time in Argentina, when there is a “total defunding of any gender policy.”