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FRANCIA
Argentina - 2009, 78’, 35mm, colour, b/w - World Premiere
directed by Israel Adrián Caetano
screenplay Israel Adrián Caetano
cinematography Julian Apezteguia
editing H. Omar Ester
music Ivan Wyzsogrod
art direction Pablo Tanno, Angel Suparregui
cast
Milagros Caetano (Mariana)
Natalia Oreiro (Cristina)
Lautaro Delgado (Carlos)
Monica Ayos (Sandra)
producer Israel Adrián Caetano - Gustavo Funes
co-producer
Juan Pablo Gugliotta
juanpablo@magmacine.com.ar
Tel. +54 911 4582-7908 / + 54 911 6014 2778
production
La expresion del deseo
Bahia Blanca 2038, Buenos Aires, Argentine – CP 1407
Tel. + 54 911 5428-8245
fito.funes@gmail.com
synopsis
Mariana doesn’t like her name, and she makes everyone call her Gloria. Her parents split up before her first birthday and today, like many other separated couples that don’t have decent jobs, they live under the same roof again. Her mother Cristina rents part of the house to her ex-husband for extra income. Francia tells the story of those people who will never travel very far from home, where they find shelter, for better or for worse, from the awful things that happen outside. Mariana, in the meantime, puts on her headphones when she hear her parents yelling at each other. These fights that she never listened to when she was just a baby are now the relief of the unprotected.
There was a time when describing a film as a story in “two rooms and a kitchen” was synonymous with realism, immediacy, inventive talent. Presenting life “live” was important, it mattered little if it was done in the spirit of neorealism or the nouvelle vague. There was another time in which narrowing the eye of the camera on the microcosm of daily life became synonymous with expressive flatness, lack of courage and creative ambition, the slow slide of the artirstry of film into the most mundate kind of television chronicle. A great director such as Argentina’s Caetano reminds us now that the world seen through the walls of a house (just like the world seen by children) can have infinite spaces, poetic resonance, human pity and savage cruelty. Mariana/Gloria’s eye focuses on what she wants to see and accept, it is almost a “digital eye,” like the images she capture in her visual memory. But when those images add up, when they become her thoughts on adults and her perspective on the world, then we realize that a true artist has worked on reality for us, reinventing it so that we may better understand it. We are truly happy to once again have the best of Argentinean cinema at Venice Days, and honored to have a great filmmaker with perhaps his most intimate and personal film.
Giorgio Gosetti
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PHOTOGALLERY |
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PROGRAMMING |
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| 06/09/2009 - 22:30 hours |
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FRANCIA
Sala Perla 2
Press, Industry, All accreditations |
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| 09/09/2009 - 11:00 hours |
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FRANCIA
Sala Perla 2
Tickets, All accreditations
Followed by Q&A
Preceded by TEAT BEAT OF SEX - ENVY |
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| 10/09/2009 - 16:00 hours |
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FRANCIA
Sala Pasinetti
All accreditations
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trailer
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