“Leaving Salamanca”passionate celebration of the Santiago chacarera, It was so successful in its first week in a small room at the Gaumont that on Thursday it moved to the large room, of 600 seats, and it was full all weekend.
Jo Zavalia Abalosits director, also called on renowned artists to present the film (and play something, if possible) at some functions, such as Peteco Carabajal at the premiere, or the pianist Victor Simon yesterday at noon. The press officer knows the public of that complex well: “You can see it for only 400 pesos. Half the price of an empanada! Or if you are retired or a student for 200 pesos. Less than half a crescent!”
Another who knew how to get things done and fill the room was Nestor Frenkel, a specialist in funny documentaries, and the San Martín Cultural Center charges much more than an empanada. His new movie “After a good day” take an old failure, “A good day”and reviews the life and miracles of its participants: Enrique Torres, Andrea del Boca and his sister Anabella, Aníbal Silveyra and (believe it) a club of fans of that movie, which was frankly rubbish.
Before the premiere, Frenkel walk “After a good day” through several cities, not alone, but as the center of a complete retrospective (“It’s Christmas all year round,” about the men who work as Santa Claus, “The great simulator”portrait of the unsurpassed conjurer René Lavant, etc). It was a successful tour, and now the new film and the retrospective will be at the San Martín all month.
He also goes on tour “Italpark”of Juan Carlos Dominguez, an investigation of that playground that awakens nostalgia even in those who have never visited it. This month it is presented at the Cultural Recoleta, the York de Olivos and other venues, but it still does not have a commercial release date.
Singular detail: two of the main winners of the Bafici do not go through the commercial circuit either. “The pleasure is mine”painting of family and sexual conflicts Sacha Amaral, won the International Grand Prix, but is only shown on Saturdays at the Cine Arte. AND “The changing of the guard”of Martin FarinaGrand Prix of the National Competition, can only be seen on Saturdays at Malba.
Pay attention to this documentary, which follows a group of friends over several years. They met in 1977 doing the colimba in the Patricios Regiment, and since then they get together every May 22 at dawn to attend the traditional changing of the guard in front of the Cabildo, and every now and then for birthdays, barbecues and other excuses. There is a jerk who insists on discussing politics and insults and wishes the death of anyone who disagrees with him, but friendship prevails. They are Argentinian.
More about the sense of what is Argentine: at the Gaumont, “Seeds that fall far from their roots”of Thomas Lipgotwho with his always good character registers conversations and confessions of immigrants and children of Chinese immigrantswho came, as one says, “from the center of the world to the back of the world,” and still feel between two worlds.
And in Sala Lugones, “Mixtape La Pampa”, vignettes of Andres Di Tella through the Buenos Aires pampas, starting from the ranch where the naturalist Guillermo Enrique Hudson, son of gringos, lived, who later went to London, and was renamed William Henry Hudson and wrote, among other gems, the nostalgic and mellow “Far away and a long time ago”. Di Tella He took the opposite path: childhood in England, sedimentation in Argentina.
Two productions also pass through the Gaumont’s small theaters without wider distribution: the Spanish-Argentine “Lighthouse”of Angeles Hernandezfilmed in the Balearic Islands, drama of a widower and his depressive daughter with nightmares (we would have preferred “The Daughter of the Old Lighthouse Keeper”, who did not get depressed and found a boyfriend) and the essay from Tucumán, between mystic and politician, “Yakuman: Where the Waters Go”of Pedro Ponce Uda.
“A film created by the Public University, made thanks to the Incaa digital documentary channel, with a team entirely made up of graduates, teachers and students of the National University of Tucumán (…) I want to think of this premiere as a small act of reparation, in moments where both cinema and the Argentine University are in danger”said Ponce Uda.
Immune to those risks, “Camila”of Maria Luisa Bemberg, celebrates its 40 years every Thursday and Sunday in June at the Cultural San Martín. She was already seen by almost the entire country, at the time she had a larger audience than “Juan Moreira”and continues calling.
