2024-09-25 03:07:32
From San Sebastian
He San Sebastian Film Festival became an international forum on Tuesday Support for Argentine cinemaat a time when he is being attacked and vilified by the government of Javier Milei and his brown shirts on social media. Jose Luis Rebordinosdirector of the Zinemaldia, called for a multitudinous official act on the steps of the Kursaal, the main hall of the festival, where he himself read a statement of solidarity with an industry that is being dismantled by the official government apparatus: “The San Sebastian Film Festival management wants to show its solidarity with the Argentine film industry “Given the exceptional situation it is experiencing with the paralysis of many of its projects, the emptying of INCAA content, and with the measures that this government is taking that endanger the development, not only of its cinematography, but also of other manifestations of its culture,” the text says in its initial paragraph.
The event, which took place alongside a Huge Argentine flag held by many of the actors, actresses, directors and producers participating in the festival in a massive way (there are 16 feature films in different sections and another ten projects in the co-production and “work in progress” laboratories), was the center of a day full of national cinema, which included on the same day the premieres of The man who loved flying saucersby Diego Lerman, in official competition; Reasby Lola Arias, in the competitive section Horizontes Latinos, and the special screening of Transfersthe documentary by Nicolás Gil Lavedra about death flights.
“The Directorate of the San Sebastian Film Festival -continued the statement read by Rebordinos himself- wants to make it clear that This support does not mean any interference in Argentine politics. For years we have collaborated with INCAA, which has had different political colors, belonging to conservative and liberal governments or to others of a Peronist type. With all of them, and with its own characteristics that it is up to the Argentine citizens to define, the Argentine industry has managed to develop normally and become one of the most important in Latin America, showing a positive image of the country and being an economic engine of the same.”
The official text concluded forcefully: “Today, the San Sebastian Film Festival, as a cultural event that it is, cannot remain on the sidelines of the dismantling of a national cinematography by a government that also justifies a military dictatorship that murdered thousands of citizens. “Long live Argentine cinema!” This was followed by a round of applause and a chant shared by the entire audience of “Argentina is not for sale, it must be defended!”
Rebordinos’ words were added to those of the Argentine collective present in San Sebastian, read by Actresses Maricel Alvarez, Maria Alché and director Lola AriasThe text, which was read in three voices, says: “The San Sebastian Film Festival is one of the most prestigious in the world, as well as being a festival that celebrates and supports Argentine cinema like no other. In the current edition, Argentina is represented by 26 films and projects in different sections. These works will not only travel the world, but will also open a space for dialogue between different cultures. This significant presence is the result of cinematographic policies that, through INCAA, actively promoted our audiovisual industry, prolific and recognized worldwide. However, We are currently facing absolute paralysis which has mortally wounded Argentine cinema.”
The Argentine press release states that “in the next edition there will not be 26 films. There will probably be five, two, none. Let’s imagine what that means in Argentine cinemas, without national films to show, in which our audience can see themselves, think about themselves. Like science, public universities, and retirees, cinema is just another bargaining chip in a cultural war that benefits no one. and which does not contribute anything to the nation. Rather, it seems like a smokescreen to distract society in an economy where it is becoming more difficult to access the most basic things every day, generating hunger, ignorance and hatred.”
“This is part of the agenda of an ultra-liberal government – concludes the text of the Argentine collective – that tries to promote the destruction of our memory and our cultural sovereignty as freedom. Culture, health and education are fundamental rights of the Argentine people. “Culture is the symbol factory of a people. It is the State’s task to provide the necessary conditions for the creation and production of cultural goods. That is why we are raising our voice in defense of our identity and our rights. The fight for Argentine cinema is a fight for our future.”
Minutes earlier, at the press conference given by the team at the Kursaal The man who loved flying saucersits protagonist, Leonardo Sbaragliaasked about the situation of Argentine cinema, said that he wanted to make his own the recent words of Adolfo Aristarain when he was honored by the Spanish Film Academy. “As Adolfo said, We don’t have to save Argentine cinema, we have to save Argentina. How far will this go? There is no will to dialogue. The national government is blind to a successful industry, which provides work for many families and brings in foreign currency, and has created a conflict scenario where there was none.”
“The feeling is one of sadness and helplessness in the face of a systematic attack,” concluded director Lerman. “There is absolute uncertainty. I don’t know if this will be my last film, because today you can’t think about the future. We need the INCAA to keep running.”
For its part, Hernan Findlingpresident of the Academy of Cinematographic Arts and Sciences of Argentina, said: “It is necessary that we understand with conviction that “With each work we do, we are giving identity, work and culture to our beloved country”.