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Diego Lerman
The conceptual idea for this film is that of a collage turned into a puzzle, several separated pieces that put together make a whole. Mientras tanto is the description of that “whole”, which is composed by the sum of singularities. There is no plot because “a story” is not being told, thus the plots function as excuses to describe the “whole”, which is something as elusive as conveying “a feeling”, “a mood”, “a moral” or “a world” could be. However, I like to think of the film as the “foundation of a territory”, with its own laws, boundaries, inhabitants, idioms, lacks, miseries… Hence, Mientras tanto aims to be the description of a time. An uncertain time. A time that calls for resolutions. A meanwhile. The original idea was to encompass the time that goes by as a couple separates: Violeta asks Mono for some time, and this is where the film begins; and it ends precisely when Violeta and Mono finally decide to split up. But in the middle, several situations affecting other characters are also narrated in a parallel manner.
Diego Lerman
Diego Lerman was born on March 24th 1976, on the same day as the beginning of the military dictatorship and the tragedy of the desaparecidos. He studied cinema at the university of Buenos Aires and editing at the Escuela de San Antonio de los Baños (Cuba). In 1999 he directed his first short film, La Prueba, inspired by a work of César Aira. Three years later he expanded the project turning it into a feature film, Tan de repente, which was applauded internationally and won the Pardo d’Argento in Locarno in 2003. His second feature film, La guerra de los gimnasios, was also inspired by a work of Aira. He also worked as a theatrical actor and as assistant director in El Desmadre by Jorge Sanchez. Mientras tanto was realized with the help of the Cinéfondation of the Cannes festival.
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