2024-09-01 07:05:25
Anahí Berneri’s perspective is unique in the world of our story. Her last film, Elena Knows, was a chilling fable about motherhood. Therefore, looking back, her work is as important as any other: “Alanis” won her the Golden Shell Award for directors such as “Saint Sebastian”, “Por tu culpa”, “Tiempo libre”, These works leave a lasting impression upon reflection, something few creators can achieve. Yes, responsibility is more important than romance). Now he is back in theater, with works based on works by Alejandra Kamiya and playwrights Javier Berdichesky and Andrés Galina Andrés Galllina’s story – the word is short, perhaps drowned out. This work can be seen in Dumont 4040, which is lost and preserved forever, but which she created in collaboration with Sofía Gala, Marita Ballesteros, Enrique Ami Enrique Amido admitted before working with Camila Marino Alfonsín: “I have done theater and it always makes me want to come back. I did one of Santiago Lothar’s I wrote and directed children’s plays when my children were little. I loved theater throughout my adolescence and it was something I was doing before I knew it. A project that, for me, is the same thing is Mother’s Parents, a project that I worked on with Alejandra Kamiya, Andrés Galina. Andrés Gallina and Javier Berdichesky also came on board because I felt that I was not ready for the drama of such a work. It’s a very big challenge, and this word is something that movies don’t have. Although this word is important, it is not the center. Movies are images and captures of time, things about time, depicting changes, emotions, and time. Passage and so on. In drama, on the other hand, words dominate, which is why playwriting exists as a genre, and screenwriting is not a genre, or a genre that few people read this year. There are projects to be shot that will be attached to the work, and the open time and space will do it well, for reasons we all know, like the Inca that did not exist. I wanted to achieve this goal before a movie or a play, but times, platforms and life took me to another place to focus on something more important, something more main.
——After experiencing the film journey, what do you think you discovered in your work?
– To me, the theatrical convention seems very liberating because I show you a handkerchief and say it’s a baby, and it’s a baby. point. This is freedom. You can generate an interesting universe without building. If I say someone hung himself, you already understand, you don’t need the production of a bell tower for someone to hang himself. Is it easy? No. That’s the game, dose. There’s something wonderful about theater that makes you feel a little bit operatic. Every show is different and as a director you have to lose control, drama is for the actors. But choreography is possible. In the film, I was also responsible for marking the choreography from the outside in, especially using the camera.
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——As you said, what made you interested in continuing the story of “Mother-like Parents”?
-This is the last thing, I swear. Yes, what we are saying, what they brought to my attention, is that I am very concerned about caregiving issues and attachment issues, and on the other hand, I can say that reading Camilla is a theme in her literature. That’s why it resonates with me. I think I’ll continue to think about gender roles because that’s what I grew up with. This doesn’t mean I’m going to talk about motherhood or caring for parents, but I’m going to talk about love relationships. I needed something to think about citizen attitudes, empathy, attachment to others. If I were to continue in this line of work, I feel like there’s a lot more to explore with Alejandra Kamia. I never know what’s next.
– Unlike “Elena Sabe”, here there is something that blends everyday life with a very dynamic stage. because?
—We were in the Dumont 4040 theater, but in all theaters they will tell you the same thing: there is little storage space and little room to put things in. I once thought about a set design…but since I read this work, my ideal always appeared, a very Japanese house. The first thing I saw was a pop-up book with some unfolding short stories inside. Objects have a certain multifunctionality. The set design as background bothers me. Stimulate the imagination of the audience a little bit. I also like the idea that we all live in the same house but we live in different compartments and sometimes we see each other and sometimes we don’t. Today’s houses are multifunctional. With Lucas Oteda. Playing with this empty concept was a challenge for both of us. We sat together and looked at the script, and I went to the first rehearsal with the proposal, thinking about the set design, which took a while to arrive.
——How was it working with the actors?
– It’s something else, something deeper. Theater to me is wonderful, what film doesn’t allow for is composition. The movie is casting, looking for the ring on the finger. In the theater, Sophia, I’ve never seen her play a submissive parent, she was more rebellious, more punk. Here, he did a lot of work that was out of his comfort zone and it was fun for us to do. Marita Ballesteros composed a complete piece. There was no time to rehearse the movie. This is another job you can give another thought to.
—What do you think of the drama in Argentina?
– What happened in the Argentinian theater was unbelievable. In terms of the number, variety and type of proposals, we are quietly at the level of London as it travels around the world, as much as the movies, if not more. We are in a crisis moment with 5 sold out shows. I think this has to do with the lack of fictional stories in television and movies. Audiences do want to be told things about them and the actors they know. It’s sociological and, to me, Argentinian audiences want to see Argentinian novels. What pained me about the movie was its demonization and sheer amount of lies. The Incaa page says something like “Defending Consumers”, but there is no page at all. We are like thieves. Since 2015, there are no jobs in Incaa, not all of us can produce, the industry is not prosperous, we shut up because the platform gives us jobs. The subsidies given were blown up, subsidies did not work, screen quotas were no longer given, there were no orders, there was no cultural policy. It was political demagoguery so uncontrolled that no one would say anything.
Those who submit a script to the agency are rarely rejected: it is necessary to understand that it can be produced, that there is room for debut films, blockbusters, niche films, etc. Some people say today that you can only make one film for one person before moving on to another project in Inca, which does not exist and is an attack on the industry.
There’s a lot of ignorance and interest in demonizing and thinking about “these despicable progressives.”
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#People #interested #demonization
