The documentary Vinci / Meleeexplores the life and work of the distinguished sculptor Leo Vinci, at 92 years old. Through an intimate and revealing lens, the director Franca Gonzalez takes us on a journey through Vinci’s artistic and personal career, marked both by his inexhaustible passion for sculpture and by the challenges he has faced throughout his life.
This audiovisual work not only focuses on Vinci’s creative process and sculptural techniques but also on his personal story, from his survival to the bombing of May Plaza to his constant fight against the conventions of a traditionalist academy. It stands out how, after more than half a century, Vinci continues to challenge norms and reinvent his art, remaining faithful to a less Renaissance and more romantic spirit. After an outstanding participation in the 25th BAFICIthe film prepares its arrival in commercial theaters, starting with special screenings on Sundays in May at the Cine Arte Cacodelphia.
González builds in Vinci/ Melee a narrative that explores everything from the creative motivations to the artist’s still pending dreams, such as his desire to face a block of marble face-to-face or to camp again in front of the sea. Through meticulous directorial work, the film makes a poetic observation of Vinci’s universe, where each act of creation becomes a ritual, an obsession with transforming the environment with one’s own hands, highlighting the idea that “it is enough to “two hands to change things.”
The trajectory of Franca Gonzalez She is widely recognized in the field of documentary film, her work has been awarded with awards such as the DAC for lifetime achievement (2023) and the Konex in documentary film (2021). Her studies in Arts at the UBA and her continued training in auteur documentary film have led her to capture stories with unique depth and sensitivity. González has shared this artistic path with prominent Argentine documentary filmmakers, and she has been awarded and recognized in multiple international festivals.
Leonardo Dante Vincipopularly known as Leo Vinci, was born in Buenos Aires in 1931. His early passion for art led him to study at the most prestigious Fine Arts schools in Argentina, marking the beginning of a life dedicated entirely to sculpture. Throughout his career, he has challenged the traditional concept of inspiration and sacrifice in art, focusing on the ethic of daily work. His workshop, the largest of its kind in Latin America, has not only been a space for creation but also for teaching, where Vinci considers himself more of a “preacher” of his artistic philosophy. The film also highlights his challenges and triumphs, including the consequences of his position during the military dictatorship in Argentinawhere his principles cost him the loss of his position as a teacher, and his artistic activism in memory of the victims of state terrorism.
The documentary, supported by INCAA and Patronage of the City of Buenos Aires, is not only a portrait of the life of a sculptor, but a work that invites reflect on creativity, passion and perseverance. In the words of the director Franca Gonzalez, the film seeks to be a testimony of how “only from the singular is it possible to reach the universal.” In dialogue with Infobae Culture, the director tells how her task was. “It was a process of gradually building trust and showing her that the film was not about perfection or beauty, but about capturing the creative chaos and other significant aspects of her work. “It was an exercise in deconstruction and mutual learning over time.”
—How did you get to know Leo and what did you know about him?
—I worked with your son Pablo Vinci, who collaborated on a previous film. One day, Pablo asked me to take photos of him for a writing workshop that he was going to give at his father’s workshop. This space, which is also the filming set of the film, was very moving for me. It was an old 19th century bakery where Leo and his wife now worked on sculptures. I began visiting him to gain permission to be present while they worked and to find a narrative to tell through him. This is how this experiment arose, which was interrupted by the pandemic, but during that time we were able to work on the idea and stay in touch, since Leo is 92 years old and we had to be careful with his health. The pandemic was a productive period for them and me as it allowed them to work without interruptions. It was interesting to be in contact with them during that stage.
—What was Leo’s reaction when you suggested making the documentary and how did you establish that bond of trust?
—First of all, Leo has a strong ideological perspective on art and believes that each work should have a clear purpose. When I suggested making the film, the first thing he asked me was what I wanted to tell through it. This question was important because he made me think about the purpose of the film and how to gain his trust. I promised to maintain privacy and respect during the filming, and only two people were involved in the process: me as a camerawoman and Belen Noceti in production and sound. He considered filming as an event and meticulously prepared the workshop before we arrived.
—Marina Dogliotti, Leo’s partner and also an artist, is also a very important character in the film
—Initially, he had a workshop in Barracas with the Grupo del Sur, where he also lived for a time. When he met Marina, who was his student and a talented sculptor, she moved in with him in a small space next to the workshop. Later, they found an old bakery on the border between La Boca and San Telmo, they remodeled it and turned it into his current workshop house. At first, there was some mistrust typical in a new relationship, but Marina takes great care of Leo and is his main support. I recognized that it was impossible to tell Leo’s story without including his relationship with Marina, since their love for each other is fundamental to his life and work. Marina is the one who sustains him through the years, allowing him to continue creating at 92 years old. This love story is an essential aspect of the film.
—Was the original script modified?
—Yes, quite a bit. Working with reality requires flexibility. The initial idea was to recover Leo’s scattered works around the world, proposing exchanges to obtain the originals and leave reproductions. However, the pandemic truncated this plan, leading us to rethink the narrative. As time progressed, I realized that what interested me most was capturing more intrinsic aspects of Leo’s life and work, which were not necessarily expressed verbally, but rather manifested in what was recorded in the images. He didn’t want a film where he did all the talking, but rather left space for the viewer to appreciate the richness of Leo’s testimony.
— One of the most moving moments is seeing the passion you put into sharing time with your students. Do you still teach in your workshop?
—Yes, one of the most beautiful things about the documentary is seeing it as a teacher, taking time to explain to each of his students. His workshop has the particularity that students not only receive classes, but can also use the space as their own workshop, even on days when there are no scheduled classes. This generates an appropriation of the place by the students. Leo goes to the workshop twice a week and has the help of an assistant for heavy and technical tasks such as welding. In addition, he now uses a three-wheeled scooter to go to the workshop, since walking was difficult for him due to his age. These are details that are not captured in the film, but are equally beautiful.
—Leo continues to impress with his ability to manipulate heavy tools despite his age
-Definitely. It is amazing to see how he adapts and creates tools to continue working with difficult materials such as bronze or marble. He has invented machines and pulley systems to make his job easier and stay active. Even though some tasks may be more difficult now than when he was in his 30s or 40s, Leo doesn’t stop and finds creative ways to overcome challenges.
—How was the editing process for all the material?
—After the experience with my previous film, Notes from the bull run, I decided to do the first assembly myself, lasting about three hours. I wanted to have complete control over the initial selection of scenes. Although I am not a professional editor, I took the time necessary to select each shot in detail. It was a long process of trial and error, but it allowed me to work freely. Once I had that initial structure, I began to collaborate with a professional editor, Alejandra Almirón. We worked together reviewing and analyzing the material, proposing changes and refining the film. This collaboration was essential for the editing process.
—How was the presentation of the film? I saw that he was at one of the functions. What was it like for him to see himself on screen?
—Leo was present at all the BAFICI screenings, which were well attended. We are very happy that the film is going to be released in theaters and that we will be able to organize screenings where Leo can interact with the audience at the end. This allows us to maintain a dynamic and for the film to remain in theaters as long as the public supports it. At first, Leo didn’t have a clear idea of what kind of film it would be, but he was surprised and, after the screenings, he said it allowed him to open his mind and look for new ideas.
—How do you see the future of documentary film and independent film, especially in this time of such adverse changes?
—Vinci/Melee It was a project in which I had to take on multiple roles, both for economic reasons and because of the intimacy that the film required. Most of the money made was quickly put into post-production. My focus is on presenting the film to the public, accompanying it at screenings and establishing dialogues with the audience. This is important not only as a craft exercise, but also as a way to encourage attendance at movie theaters and generate unique feedback with the public. After this process, I will be able to think about new projects, but the current situation of Argentine cinema and documentary cinema worries me a lot. It will be necessary to reflect on what stories we want to tell and how to tell them in the future.
* Vinci/Melee It is screened on Friday, May 3 at the CCK (Sarmiento 151, CABA) at 6 p.m. within the framework of the “Women and Cinema” Festival. In addition, it will be shown every Sunday in May at the Cine Arte Cacodelphia (Av. Pres. Roque Sáenz Peña 1150, CABA) at 7 p.m. All performances will have the presence of the director and the protagonists to chat with the audience at the end.
