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Israel Adrián Caetano
At the age of 16, (Montevideo, Uruguay, 1969) he moved to Argentina, where he began his film career. In 1994, Cuesta Abajo was ex-aequo winner of the Historias Breves competition of short, 35mm films, organized by the Argentinean Film Institute. In 1997, he co-directed his first feature film with Bruno Stagnaro, Pizza, Birra y Faso, which was considered the beginning of new Argentinean cinema. The following year he won the Fundaciòn Antorchas award to make the short film La Expresiòn del Deseo and began working on the feature Bolivia, which was released in 2001 and won the Young Critics Award in the Cannes Semaine de la Critique; the Made in Spanish Award at San Sebastian; the KNF Critics Award at Rotterdam; a Special Mention at Huelva; and the FIPRESCI Prize at the London Film Festival. In 2002 he directed Red Bear, presented in the Cannes Directors’ Fortnight. From 2002-03 he made the TV series Tumberos and Disputas. In 2005 he returned to Uruguay to shoot the mini-series Uruguayos Campeones and in Argentina made an episode for the collective film 18-J, on the 1994 bombing in Buenos Aires of the Argentina-Israeli Mutual Association (AMIA), which killed 85 people. In 2006 his film Buenos Aires, 1977 screened at Cannes.
Francia is the unorganized tale from a child. Or an unorganized movie told by a child in an organized way. Children don’t usually tell us everything yet despite being unorganized their memories and stories are never confusing. One knows what children are talking about if one really tries to understand. Mariana sees her parents’ world, and adults in general, as contradictory, confusing and having a bad memory. She knows what grown-ups are talking about she doesn’t even try to understand. Both sides avoid talking about ugly things. That is the principle behind this film, along with the anthropologic desire to tell a story from a child’s point of view in a world in which I am of the generation that now finds itself in the role of parent. And that is not setting the camera at a child’s height to giving them a verborrheic lead. No matter what her parents, teachers and friends do, Mariana can see herself there or not, in silence, looking away or listening to her walkman. And she is always behind the camera.
Israel Adrián Caetano
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