00:00When you think about the story of Gilla, it's so unique that you can only think about fiction.
00:05It's the most unusual case in the criminal history of Argentina.
00:08The journalists of that time invented the story.
00:12The venom was in the West, the mass.
00:15Gilla was the poisoner of Montserrat.
00:19Never told the truth about how the poisoner was.
00:23I was in the Division of Homicide, I was concerned about the judicial part.
00:27The reporter, I believe, said that he had a little bottle of the house.
00:31That was the first indication that something strange was happening.
00:35Three women to give you money, the three of them in the same month.
00:39She was able to live.
00:42It was a bit of a pyramid, what she did in the 70s.
00:45But she needed money and she got it in that way.
00:49I did everything I did to not be the son of Gilla Murano.
00:53She was a bomb.
00:57For me, she was very manipulative.
00:59She was a very dominant person.
01:02I wanted to finish with the story of Gilla.
01:05And you know what I did?
01:08I immortalized.
01:09Gilla wanted to be famous.
01:11And the TV allowed it.
01:12And the society allowed it.
01:14She was the most popular criminal in Argentina.
01:18She began to create her own character.
01:20She liked to be the envenenadora of Montserrat.
01:23She came from her.
01:24She came from her.
01:25She came from her.
01:26She came from her.
01:27She came from her.
01:28There's something strange in the acceptance of monsters.
01:32How to become a monstrous person in a painter's figure?
01:36She came from her.
01:41She came from her.
01:43She came from her.
01:44She came from her.
01:45She came from her.
01:45She came from her.
01:45She came from her.
01:46She came from her.
01:50She came from her.
01:54You
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