2024-10-15 02:49:45
Local and international, recent and classic, documentaries and fictions will illuminate from this mars 15 the big screen Cinema Art Cacodelphiainviting the entire community to look at films that portray, explore and make visible other ways of existing outside heterosexual norms. Starting at 6 p.m., and for five consecutive Tuesdays at the same time, five films (one per Tuesday) will be seen in the theater located in Roque Sáenz Peña 1150with the special presentation of prominent personalities of culture and local activism.
The cycle, in addition to traveling with its films a dialectic between the old and the new, between the known and the unknown, is also based in a mythical space that has its own history, from when it was the iconic Cine Arte Diagonal theater to Buenos Aires. Aires Mon Amour (BAMA). Now recovered and renamed as Cine Arte Cacodelphia, the space created by Gastón Gallo, Sebastián Gallo and Oscar Feito proposes the meeting in the multiplicity of glances with three completely renovated rooms that enjoy a different programming from commercial cinemas: “auteur” films , art cinema and other unconventional cinematography that does not find its place in other spaces.
Pablo Mazzola, programmer of the room, highlights that “being able to share a sexual diversity cycle in these current times seemed significant to us.” “And we believe that it is important that it be cinema in the cinema, on the big screen, where reflections can be chatted and shared in community that emerge from the projections. We seek that the body of films in one way or another generates a total view, from a cinema of strong character and independent imprint, in particular the films that are Argentine, and that at the same time goes with all the nuances of the forms and genres. , if we think about the audiovisual essay, fiction or documentary.”
Presented by the SOY Supplement and the Cine Arte Cacodelphia, the cycle begins with the multi-award-winning documentary Silence is a body that fallsby Agustina Comedimade in 2017 (see below). On October 22, the Frenchwoman’s turn will arrive Portrait of a woman on firedirected by Céline Sciammastarring Noémie Merlant, Adèle Haenel, Luàna Bajrami and Valeria Golino, and released in 2019. In the film, the focus is on a clandestine lesbian relationship, when in the year 1770 the painter Marianne receives a commission from a countess to make a portrait of her daughter Héloïse, intended to be exhibited at her imminent wedding, but she, fresh from a convent, distrusts success and her desire to marry. Thus, the true portrait of the film will be the one that paints in full the forbidden romance between the two, which is based on Marianne’s meticulous daily observations in which her artist’s eyes are combined with a passionate and uncontrollable approach.
On Tuesday, October 29, he returns to local cinephilia to explore the Brief history of the green planetby Santiago Lozawith protagonists Romina Escobar, Paula Grinszpan and Luis Soda. Released in 2019, the film closely follows the steps of Tania, a trans girl who takes care of an alien who lived with her grandmother, now involved in an interstellar mission with her friends Pedro and Daniela. With an atmosphere of an eighties adventure and science fiction film, the film seems armed with the ideology of an odyssey in which the marginality of its characters softens until they redeem the oppression through which their identities go. It was awarded the Teddy Prize that year at the Berlin Film Festival for being considered by the jury as the “Best fiction film with an LGBTQ theme.”
The month of November will start with the classic Philadelphiareleased in 1993 by the American director Jonathan Demmewho managed to bring together a cast of Hollywood mega stars such as Tom Hanks, Denzel Washington and Antonio Banderas to bring the story of the successful and pampered lawyer Andrew Beckett to the general public and to the red carpet. He was the one who faced an unprecedented lawsuit against his former boss for dismissing him from his job when he found out that he was homosexual and a carrier of the HIV-AIDS virus, exposing to the world the homophobia, discrimination and institutional violence of an area of the American labor elite.
Finally, the cycle will close with a recent Latin American premiere: My chest is full of sparksby Gal Castellano. Filmed this year and scheduled for November 12, the Mexican film moves between photographic archives, paintings and video calls. After her father dies and her mother suddenly flees to Turkey to meet a secret lover she had met on social media, Gal and she begin an exchange of digital correspondence that reveals long-hidden family circumstances, such as her mother’s confessions after having found freedom away from home and motherhood. At the same time, Gal reflects and exposes the images that involve the decisions and the particular context of the subjectivity of a trans person, the processes, the change of name, the bodily transformations and the permanences in the environment of a personal and collective history under the documentary magnifying glass.
The diversity of periods and geographies that the works expose were explicitly considered when putting together the cycle and, as Mazzola expresses it, “it is important to be able to address the forms of production or story with the narratives also related to different parts of the world. , and from different times.” “Of the five films in the cycle, four of them have already had their run, but when we see them again in this sociopolitical context, they challenge in a much stronger way. Some of them are almost an act of freedom, and others an act to rethink and problematize our public health policies as profound calls for attention. Between the diversities of the forms, the diversities of directors, the looks and the sexual diversities in their gender representation, there is a total that we believe that through this cut yes or yes it invites us to think about this present.
“Silence is a body that falls”
Blurred images and latent desires
As if it were a documentary about fetishism, a huge foot begins Silence is a body that falls. Calves, legs and the rest of the body David by Michelangelo located in the Gallery of the Academy in Florence continues to be captured by an old film camera that, in its blurred image, suggests an era and also a handful of latent desires. The one who films the video is Jaime, the father of Agustina Comedi, screenwriter and director from this documentary essay released in 2017 through which viewers also learned that the obsession with filming everything is an inheritance from his father, who in January 1999 lost his life in a fatal accident with his Panasonic camera in hand.
With the exploration and selection of an archive of more than 100 hours of footageAgustina Comedi’s documentary captures trips, barbecues and family parties, transvestite and transformist shows, interviews and current testimonies that reveal the personal history of Jaime, his family and his environment of the upper class of the province of Córdoba. Suspiciously, all the interviewees whom the director questions about her father’s past seem to know more than they say, and the mystery soon reveals itself: Jaime’s homosexualitylived openly until her heterosexual marriage, from which the director was born some time later.
Jaime’s extensive courtship with Néstor, later a witness at the wedding and an obstetrician who ordered the birth of his daughter, are some of the discoveries that parade on the screen. So, Silence is a body that falls reconstructs a personal and social history that does not want to remain in the closet. That is why in each fragment of the film that makes it up, mysteries and surprises reign, like the anonymous letters that reveal unexpected secrets and a past that does not intend to rest. They reflect a time of fun, travel, sexual tourism and a lot of spontaneity, but also with dangers, training in Catholic education, the dictatorship, fear of persecution, police edicts, the beginnings of the epidemic of HIV-AIDS and his own experience as a youth police officer at 16 years old. Jaime served in that position until the senior officers of the forces fired him for his homosexuality, unaware that he himself was the judge’s lover.