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Lucrecia Martel is the most astute filmmaker of Argentina. In her new epic poem, she struggles with colonialism and racism.
Argentine director Lucrecia Martel, 51, smokes big cigars, but she does not like the arrogant image that she gives. She does not like to take space, she says, for example, in a low voice and without any hint of self-pity. From constraint to productivity, it does not matter; Her work, for which she is celebrated around the world, represents exactly four feature films. Between his past and the past spent more than nine years. With his idiosyncratic social studies "La ciénaga / Le Morbad" (2001), "La niña santa / The Holy Girl" (2004) and "La mujer sin cabeza" (2008), she caused a sensation in the circles of "La ciénaga". art and festivals. Then she diveed, wrote, traveled, made plans and made short films that almost nobody could see.
In September 2017, she was finally back: with a sumptuous film that seemed superficially different from her previous works. In fact, "Zama" (launch in Austria: July 6) is in many ways a novelty in the work of Martel: his first costume and historical film, his first novel adaptation, his first narrative around the world. a male protagonist – and her first film project, it does not play in Salta, in the region where she was born. At the same time, "Zama" logically pursues Martel's idiosyncratic style: as an acrimonious critic of the ruling clbad, as a haunting and immersive visual and sound experience. The camera of the Portuguese Rui Poças delivers feverish images in which the reality and the imagination, the outer and inner world become indistinguishable.
International film critic appreciates Martel's work. The New York Times, The Guardian, The Wall Street Journal and Variety Magazine, like most other critics, have peaked around the US launch of Zama last April. Martel's films badyze political structures, clbad relations, ideological fault lines. In this respect, the novel "And Zama Waits" by the Argentinian Antonio di Benedetto (1922-1986), first published in 1956 and presented by Roberto Bolaño and JM Coetzee, provides him with a perfect basis: the schema existentialist futile efforts of colonial official Don Diego de Zama trapped behind Paraguay in the last decade of the eighteenth century in the service of the Spanish crown, reports of isolation, depression and bureaucracy, discrimination and daily racism. Zama does not arrive at any level of the train: as little with his superiors as with the women who interest him.
"Historically, but very present"
"We like to say that the novel speaks of waiting" says Martel in the profile speech that took place after the premiere of "Zama" at the Venice Film Festival. "I would rather say that it's a book about the trap of identity, about the frustration that comes with the rigor with which we judge ourselves." Reflecting exactly what she is trying to say, she is already thinking of the following thought: "Victims of the colonial system are everywhere visible and present in Latin America today." expropriation in the native territories of Argentina continues to make victims The aspects of my film have a historic impact, but are very present. "
Martel sees herself as a regional filmmaker, an artist from the rural north-west, far from Buenos Aires, which is why she is wary of some producers, her long-time science fiction project, a very free adaptation of the famous graphic novel "El eternauta", which fantasized about an extraterrestrial invasion of Buenos Aires in the late 1950s, was broken in 2009, after 18 months of intense and fierce writing Conflicts with rights holders, in the air. "After that, I did the same thing as the heroes of" El eternauta ", which eventually escaped into a capsule Space. I bought a small boat for Brazil, and for the first time I've read "Zama". "Martel's" Eternauta "script will probably never be implemented." But the The end result for me is that working on that led me to Zama – a reflection of time, past and future. "
It must have been a logistical nightmare to achieve" Zama ": Twenty-five producers list the credits, including the brothers Almodóvar and the actors Danny Glover and Gael Garcia Bernal, 16 production companies from 11 countries participated.In August 2011, Martel began writing, between 2013 and 2016, she sought to finance. films can not be made without European coproduction partners, she has been working with producers in France and Spain since her debut Lucrecia Martel wholeheartedly supports the audience's intelligence. market forces sell stupid people does not mean that it does not They are really stupid, every film needs time: the time to turn it – and the time to understand it – I work and move very slowly, the measure The impatience around me scandalizes me and amaze me . "
Anachronisms
The hallucinatory quality of his work is largely the result of acoustics.Martel works with the sound designer Guido Berenblum and the mixer Emmanuel Croset since" La ciénaga "In" Zama " you can find anachronistic electronic sounds, old hits, surrealist sound mats, it is impossible to reconstruct the sound of the 18th century, it is rather to create a new ambiguous reality, and I do not even not interested in realism itself. "The search alone did not lead them far enough: all that can be gleaned from South America in the 1790s," are the white men's visions that were in a place they do not belong to, so I used a lot of things today, which occur in the area in which I shot. "
An absurd humor and brittle bruising gags also trail through "Zama". It is only towards the end of the film that the hero decides to go out of the desert from his existence to become active. He is trying to hunt down a legendary villain in the jungle, for a long time uncertain as to whether he is not just the illusion of a colonial society that locates evil only in the world. other, the oppressed and the deprived of rights.
Zama, presented by the Mexican actor Daniel Giménez Cacho, is an ambiguous character: impenetrable, all but a popular figure, a victim who does not fear violence. Zama is both a victim and an author. Unlike the novel, he has in the film an illegitimate child with a native woman – and he does not want to Buenos Aires, but to Rosario de Lerma – in the Argentine province of Salta, in the filmmaker's retreat. Martel takes his tissues personally. She likes weak and imperfect characters, they seem more human. "The desire to identify with goodness is part of the bourgeoisie's morale, the identification with evil is a breeding ground for reflection, and the sufficiency of the middle clbad in Argentina is really horrible."
On 12 July Lucrecia Martel, moderated by Kathrin Resetarits, will hold a three-hour Masterclbad in Vienna: Stadtkino im Künstlerhaus, 4 pm
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