00:00It's clearly a silencing strategy, and it has to do with something ideological.
00:04But here we are defending a type of cinema that, with all these cuts, will most likely no longer exist.
00:11If is it, there will only be one type of Argentine cinema, and the other, in that sense, could disappear.
00:18How's it going?
00:26How's it?
00:26You're with my friend Lazo.
00:27What's up?
00:28How's that film?
00:30Going.
00:32Getting started.
00:33Getting started.
00:35I would describe it as hard-won cinema.
00:38That cinema that requires effort and work, and with a very small budget, but it's made.
00:46With a large group of friends, and very good people, and good ball of professionals.
00:59Don't move it while I'm still hot, you'll burn it.
01:02You know that this demand is kind of animalistic.
01:03I describe the cinema that we make here in the interior with another filmmaker from my town as peripheral cinema,
01:10right?
01:10Partly because I was born obsessed with cinema.
01:13I mean, there was never any effort.
01:15There was never any doubt about whether it suits me or not.
01:20I think that if I didn't make movies, I would die of depression and anguish.
01:24Why are you going to sell?
01:27Do you know that I like what we do?
01:28In this independent film industry, the roles aren't so set.
01:34It's not like the assistant director only does assistant directing and the producer only produces, right?
01:39The director will be free in a minute, and had to go and prepare the lunch now.
01:46My son, Ezek Wacko, was recently selected for a film shoot.
01:50And, well, I went with him to see what that other world that I didn't know was like.
01:58And I was impressed by the display there, and I'm very happy to have seen something of it.
02:03And so, comparing it to this, how small we are, how small, and how much effort, and how beautiful this
02:09comes out, how valuable is this to do?
02:14How valuable is this occasion?
02:16I get emotional.
02:17Sorry.
02:18Sorry.
02:24Fuck.
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