PS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema. In Julia Montesoro' s eyes, a treasure, a program with a gender perspective that nucleates the country' s film industry. Argentine cinema will never be the one it is until now. We, from GPS Audiovisual, strive for an Argentine cinema, for an accessible culture, plural diverse, for a cinema that identifies us all, that reflects us and for a culture that has the
support of the State to continue and for the development of all Argentines. This is GPS Audiovisual Radio. Welcome to Norberto chap' s journalistic production and driving by Julia Montesoro. Guillermo Fennin is the co- star of the impacted the drama directed by Lucía Puenzo with Mariana de Girolamo Germán, palaces osmar Núñez and Moor An Gilleri, among others, that addresses a rare topic as it can in what way the impact of lightning can impact in this case, not on
a person, not only in the Fijossi, especially in the emotional. We ' re here at the radio studio train topic, on GPS audio- visual radio with Guillermo Fening. Welcome and thank you so much for being with us. Williams good, good afternoon, good evening to all. Well, the hit ones. It tells a story that can square as in various forms in different genres. It can be for fantastic moments, it has some documentary, it has something here was Lucia Puense even said it could be a superhero movie.
It' s a love drama of all those readings with which you stay, William, I think it' s a yes. He' s getting closer to fantastic realism. I' d like to think about it that way, but I think the interesting thing about the film is two things and like two branches, yes, the protagonist is struck by lightning and that generates a lot of physical consequences, whether it' s visual sounds, even her sexual
appetite changes becomes more voracious. But also not only does the film talk about that, but it talks about how one reconfigures in terms of his past and the things that happened to him. The protagonist suffers from a very big girl trauma and what' s wrong with her. And it can be lightning, but it can be an accident, it can be someone' s death,
it can be whatever it is that you in life reconfigure it. I think the film talks a lot about it for me, about how before we end situation, shocking we don' t have to reconfigure and we' re no longer the same now you. At some point you felt good, symbolically speaking, not pierced by lightning that made you reconfigure your path. Yeah, yeah,
yeah, okay. I had a pretty traumatic situation, which is suicide my mother and I found my mom dead then that was really like a me look now that I remember it, it was like an electricity in the body when I saw what I saw and at the same time it was a release for my mom. He was a person who was already struggling a lot with life and with a very fucked- up psychiatric illness. Then I was looking after her then and I was young, very young, to take care of
so much. Then, at that moment I was reconfigured, but not to one distressing side, but to one side of liberation. You ask me, I answer you, no good, perfect, but I say the movie has that reading too. Totally this one ended up that well, well it can be seen as this we said, not a fantastic tale at times, a loving drama. But deep down and very deeply, he talks about this,
not how to reconfigure ourselves in life. Yes, yes, I think it ' s a very very human film, which talks about experience, feelings. I don' t know what that genre would look like. I really think why? Because all the movies. In reality, all films are always traversed also for a loving conflict. It seems to me that the love conflict here is not. It seems to me that what really happens to the person has to do with this character has to do with his reconfiguration and with his past
and how else he will decide to live now. Anyway, we also attended a person in a very traumatic state, very shocked still by what happened to him then all that is a movie that you see good sometimes in the cinema, for example, and suddenly you' re inside one that you don' t know well where it will end, because the sound wraps you and suddenly she puts the uros, plugs in and makes a small noise that isn' t that it' s already and all the people jumped in the room because
you' re so inside the movie. The film takes you, immerses you in images and sound with an incredible technical bill, as always work the Puensos Lucia Poenso and his brothers that the truth nothing. I, when I saw her there, was grateful that we' re releasing this movie right now. Good, too. The cinema of Lucía Puenso is never comfortable and the characters also have complex edges to build it. For an actor, for an actress,
it' s a job, a powerful challenge. In the case of Jano, your character, who is the husband of this protagonist, who does not understand very well what is happening to her partner. You how you worked this, from where I have always recorded the joke to Lucía that when we are going to make a romantic comedy, because always and I also tell her she go two films in which they put my horns, I say the next one, I piro metro me and it is always Germán palacesothers, because in
Chromo also fooled me and also I hano imagined it. I also tell the story begins with her fifteen days ago my partner, who is in hospital sleeping in a hospital, and I imagined that those fifteen days I was there in that room. Then I started putting the character together with a bad asleep guy, in a bit emaciated at first, like with a heaviness that didn'
t know what was going to happen to his wife. It' s like he' s, like, a good guy, a guy who' s very leaning on his partner and a half that if he was done with that, he was really gonna have to reconfigure, too, so I put it together from there and then there was something that was a little bit warm, too. He as far as he let himself, at least let himself be
bribed by his partner' s father. Well, for certain things that happen in the movie and at the same time she wants to know what' s happening to her, then she tries to insist on something where she' s not watching it. He is, as he is, a very ungrateful character, also because you saw. He' s a character with good intentions, but there' s nothing on the other side now, that is, the person who was on the other side is gone. He does not know that
person and that person does not know him. So, well, if you want to accompany, but you know very well, very well how, how exactly this is the major conflict of Faraway. It' s not true of that character and you what attracted you to the proposal. It brings me here
as long as Lucia calls me to work. I always know it' s a good, incredible adventure, that I always know that it' s beyond that obvious that I gave him the script and I gave him the script and I said yes, I told him they' re going to horn me again for the second time. But, okay, we don' t and in this case we film here very close, but whenever Lucia invites you to work on her projects, you travel to Argentina and you go to a lot of
amazing places. Well, in this case it was here in Gaynor, which is a town here in the province of Buenos Aires, in a field and the truth that attracted me to return to work with Germán, with Mariano and Jirolamo, who had seen her in Emma, that I told her the film. I didn' t like it, but I liked you. You' re an amazing actress. Yes, yes, it' s very good Mariana and good and after you know it' s a film that also has an
international projection that is also going to be seen on platforms. We were at the San Sebastián Festival, a festival I didn' t know, which I loved meeting friends, and cinema is part of as a family. Lucia also works in a very familiar way and her people are repeating themselves on all teams. I could do it. I was here in Buenos Aires, let' s do it all, there was everything and what you knew about lightning until you got this story. Well, I didn' t know much, I
mean a lot. I found out about things I couldn' t believe, like it' s very likely that lightning struck you once, impacted you twice because of the burden you have left on your body. I did know some things that are sensitized at the auditory level sensoryly, but not much more. I love lightning, I love storms. I am such a person of rain,
of days of rain and storm. I like it. I am not to marry to go out and hunt lightning, but if I like it the same in storms, I stay in the street, because I have you alone in the trees. I' ve even seen trees falling in the city of Buenos Aires by day without wind, so imagine with wind, so my fear is the trees, the rays. Aha well you were born in Marco Juárez, in the province of Córdoba, which is an eminently agricultural, soy farming, flat, pampa, humid place. Yes, and this character you make
has a lot of knowledge. You brought that knowledge to work this character, because you really see yourself on the screen at times. I made this kind of outlaw out of the field. He lived in the country all his life. He knows how to milk cows. Sure, not good. I' ve had contact in the field, not from my close family and cousins that I' ve gone from Chico, I' ve gone to friendly fields. I really like the country. I like animals much more than people do.
Then I love animals. Then we went with Lucía two days to prepare and there to be with the calves and all the animals when they are babies and the big ones too and to enter the tamboo, which is not a situation for an idyllic, because suddenly you shit in the face cows Here it is simple. Then nothing. The field I like, has something, a mystic and an even smell that I like and it seems familiar to me, but I didn' t know anything about ordinating a cow, for example, I
had once ordered hand, but here it is with all this industrialized. Yes, yes, it' s very macabre, also how the cows suffer, of course, how the udders leave it, all clear, very sad, well, but you had to overcome all that too, because this man who loves yes, yes, of course, passes all those clear questions, of course, at that moment no, but then you suffer there now, well, you work in cinema and you made the step to the series. This, too, is already as definitive. Let' s say you' re
more attracted to the world of series. No, not the movie one. No. Not at all, because you even worked in Spain. Yeah, yeah, yeah, no. At one point it seems that the show was what the world was going to eat. I don' t know now. Now I don' t think it' s going to be a show or a movie. A while. What are we gonna do, Julia, what are we gonna do, I don' t know, we' re not
all asking. We' re not doing a finance program. I don' t know why we' re not going to finish, well, but the thing is that in Pandemia the platforms exploded and well, there was a lot of work. I was lucky enough to make that movie with Julia Solo Monov, which was what landed me in Spain, because no one is watching us.
It was co- produced by Isabel Colchette and you know when she saw the movie, she told Julia, she asked for my phone, and she says I want this kid to be a forgiving, good fullop, and all of a sudden, no casting, nothing. I found myself working with her and with the Gran Liya Costa in Spain and from that came out a series, a film that I made with Mario Casas and then I made two seasons. Welcome to Eden and well, nothing one is where an actor is, where, I mean, he' s choosing and he' s going to
see what he' s doing. But it seems to me that both the series and the cinema have very powerful tools to tell stories and you were brought to a wider audience, I would say, no yes, more international. Also yes, yes, yes, it may be, it may be yes foody was seen and seen all over the world. The two series were seen all over the world. It is very funny to enter the platforms and to be bent in Italian Arabic, in German, in a clearing. I have
fun watching that and how you look. No, they don' t change much, I don' t know you' ve always seen another language. How you feel they' re acting better. And the actors I say I watch Korean cinema and I stay like this and they' re acting bad around there. You don' t know how to pepe it all sounds like you saw it, like it' s okay. Yeah, then I see someone acting in Argentina and I say this shoe, but any Korean Korean seems to me to be doing well. And now, well, what are your steps.
There' s also the director' s debut. I didn' t make the debut eating with caito is for cousin I made of my brother and now it would be my second film. I told him we were good at nothing like me now. It seems that we now have a Spanish producer and a Mexican and so it seems that we can film it most of the interiors
in Spain and the exteriors here. But the truth is that with Cecilia Roz, not Cecilia Rot we' re there working and following, applying and collecting the money still to make it. It is a film that addresses the issue of aesthetic surgeries and how this system pushes everyone beyond women and also actresses to stay young and beautiful. Always somehow reflect on that and a couple more things. But that' s like the main axis, and now it' s
possible that it' s expensive this year. That project next year would be the idea of filming one part in Spain and another part here, the smallest part here. Sure, he realizes the equation. Another thing is not going to be clear. Sure, sure, yes, and you have some proposal for I have proposals that are still there very much in the o. We ' ll see for a bit about everything that' s going on here and a proposal outside that well, it has to grow up a little bit.
But like a lot of others, I say it said good if you are with little work, that is, I imagine how we will be, because I always the truth in the last fifteen years I worked very hard and and the truth of my circle I am always the one who works the most and I say now it stopped a lot to me, the offers, the readings, the ions, the work and I know many people who are in the same situation. People I am great actors, or bigger also here in Argentina.
Specifically yes in Argentina and something is happening that Spain, for example, closed quite, closed quite to the foreigners brought out a law of quota, that has to be that it was but they did not respect it, that now they are making it respect then that neither moves the rod much. But I say in a moment it seems they don' t want any more Argentines.
For now, well, the world is getting difficult for everyone. Guillermos Fening, thank you very much for accompanying us for this presence here in GPS audiovisual, Radio and for this co- starring in the impacted that really of a very good film, is highly recommended. Well, Julia, thank you so much and thank you all for what you always do for saying. We ' re still on radio audio- visual GPS. That' s me when I was ten and that' s in my neighborhood where the story is born.
What do I want to tell you? Here' s a stage that ends. I see it changed since you left life gives and you' re fart. It' s my dog, that leave them here You' re going to change school Juan, and the less we cross paths. For him and for everyone. They look at the whole movement, at what time I left and how many are the family all moved and they' re going to have the stick. So something also sir has me and I' m capacitated yes. That' s why they don' t know the wall in a
row they' re gonna notice or what' s going on. He' s not gonna see my house Vale' s the lowest guy. Te Ve Corretolo p Records on the last day of your childhood. We invite you to travel in time, because we take you right there accompanying Nico on the way to his maturity in a neighborhood thriller in between, a film by Martin Gamaler, simultaneous premiere in the cinema comnt and in cinema rocha a la plata from the 15th of February, every day, twenty- thirty hours we also find
ourselves in in instagram Arroba between half point the film. We would have liked to know what was the last day of our childhood. Mexican Pedro de Tavira, co protagonist with Juana Viale the black comedy human resources, a co- production between prism cinema of Córdoba and surviving films of Mexico that is exhibited in
its second week in about twenty theaters of nine Argentine provinces. A worker alienated and tired of pergenious routine, a plan to attack his superior affluents that between loves and affairs, leaves his hands and then a series of questions occur that better see them on the screen. There, in the cinemas human resources. We are in communication with Pedro de Tavira, who is in Mexico and is
the co- star of this film. Pleased to be with us, to receive you here on GPS audiovisual radio How are you, Pedro Hello Hello. Thank you very much, thank you for the space. They hear me well, if we hear you perfect, we hear you perfect, what you found
in this black comedy that excited you to accept this good role. First of all, the novel, the novel by Antonio Ortuño, from which this script by Jesús Baraña is based, which I think is a good way, a black humor, very acidic, to make a critique of the system, not only political and economic, but also how that prevails in us as people, how it has made us consumed to the extreme, dissatisfied with power struggles even
the smallest loopholes. And then I think that the Human Resources Office becomes a kind of microcosm of society in terms of wanting, wanting to have more, because we understand that having more power, aquisitive is going to be someone in
life. We are nothing more than being told a little bit by the characters mocking that they are ordinary like their clothes, unless they have elegant clothes, which they do not have to remove the label to say that it is a cheap brand will be someone until they have a decent shirt, even when they have a chance to order a wine at the bar and cheap beer. Then you' ll be someone clear that it' s a bit of a society that we live in today where, in delf oracle, it' s now
the ATM. Sure enter if you see using it and from your use, you know who you are or, what you are clear, yes, yes, or how you can behave, no, what to simulate. It' s a society of simulations, not your character. Gabriel Lynch is an antihero who becomes a psychopath. In short, it can totally be understood as a reading. This thing you were talking about earlier, a portrait of Mexican society itself. I believe it is the society that lives under this capitalist, neoliberal
consumerist system. It can happen in Mexico as it can happen in Argentina, Colombia, the United States, Germany whatever. In fact, that was also a bit of co- production with Argentina and then having a cast that was mixed between Argentines from Cordoba, there was a need to ask where we are
going to raise this novel. I say this movie. The novel is not even posed exactly in Mexico City, but it is Guadalajara, or it is intuited that it is Guadalajara, which is a capital in a province here in Mexico, and suddenly we realized that there was no need, that we could be Argentines, Mexican Cordobas, Colombians, wherever it was from. What the film talks about doesn' t matter, no matter where you were born or what accent they have famous globalization, no yes, I say totally, totally
in every sense. Now, a part of human resources was shot here, in Cordoba, in Argentina. What enriched you from that stage of filming. Well, for starters, it was the whole shooting of the movie of what
was done there. And good for starters, Córdoba is a very beautiful city, a very warm people, very affectionate, what I feel was the greatest success of doing so is that we find a group of people who are extremely capable, extremely professional, who are up to any cru of filming in which I have been able to work on the first level and, at the same time, was a small group of people. Then we became very easy team. The Mexican corrovés combination was very good and, in addition, the first
week filming was all the sequences that are inside the offices. So that helped a lot for the pace of work to include and be understood without tending well instead of everyone on the team. But above all, very surprised by the human warmth and good, not surprised by the technical quality they have, because that is known from when one sees any movie in Argentine cinema. The truth, very happy, very happy that it was there. If it had been
here in Mexico, it would have happened like one more movie. I don ' t know how we would explain clearly by the characteristics of the place of cis of the people being for us Mexicans to go to a place outside or when it' s your turn to shoot a place that isn' t your house, your city, you lock yourself in more at work, you evoke yourself more at work and you live everything is a journey and I think that helped a lot that, at least the Mexican actors, that although we knew
each other, we had not worked together any, then we could make team community very easy. Well, that goes through the movie somehow. Now with the film already premiered in Mexico and Argentina, What do you realize that you hadn' t noticed before, let' s say from the reactions of the audience, because one, whenever you make some kind of comedy or inspire comedy, is always afraid that people can laugh or can' t find the joke. And, well, here in Mexico they laughed a lot here, in
Mexico people who work in offices oratorically are called bodines. So we said it ' s the bodine community of clerks. In Mexico it was very well reflected in the film. It was possible to identify well and I was surprised that I was also afraidcons premiered in Argentina that it would not have been a very Mexican film. I know how to talk in the way of a joke, and I don' t think so. I think that even the star function, which was the one I witnessed in Cordoba, I had the sensations that
laughed the most what was served here in Mexico. Then I want to think it works that way. Good pedro of this life, protagonist of the black comedy of human resources directed by Jesús Magania Vázquez, which is exhibited in halls throughout the country. Thank you so much for joining us I send you a hug to Mexico, where you are saying here from Buenos Aires. Thank you, We thank you, Thank you for your time and I hope I can return to the beautiful one of Buenos Aires. We' re waiting for you
on audiovisual GPS. Radio. This is the story of my hatred. Well, I' m his printing permit. That' s how Manager' s Square was recently released and I applied for it. The new resources are years. It looks like it' s going to be a big deal of mine for everyone in there because he' s the son of I don' t know who, because she' s a pretty obvious daughter that they' re going to put a lot of fairness in him. Neither you nor I had
a chance. We weren' t in the eternal for the job. It ' s no longer important for your husband to be a brother who' s the most popular in the world. This is a cut company and something I have to be wrong with. Hang in here, you gotta fly. One looked like a tristitan, less others saw how we terns You and we are already a goal not a rush to revolution. They' re special like us. Don' t do anything. I don' t have a paruritious plan, I have a clau type. He' s been bombed by a car.
I am Now there are two types of people, this two which is you. Marcio Migliorici is the head of international affairs of the Cinematographic and Visual Audio Agency of Uruguay AKO, in charge of promoting and positioning Uruguayan audiovisual content internationally. We are with Marcio Migliorici based on the intense activity of Laku, which continues to promote the Uruguay audiovisual program, the support of films in festivals
and the development of new fields at the international level. Hi, Marcio, how are you? Welcome Hi, how are you doing? Thank you very much or cars two on your show. It' s a great pleasure. Nice one, too. The Aku has been formed for a year and in this brief period it launched ambitious promotion plans that incorporate the concept of cash revenge is just as an incentive. What are the lines of encouragement, that you
are working, that are working and what advantages offer from the COU. Well, in what is black COU, there are two sources of funding that it administers from COU. One is the Promotion Fund, which is a fund that is competitive and that awards prizes to the different stages of what is armed, we can say, the audiovisual project from development to what is obviously production,
post production, promotion, positioning. And we also have what is the Uruguayan audiovisual program, as you said well Cuba for us, which is from the two thousand nineteen, which started with three million as bags in itself to allocate in case Bates, continued with five, with seven and today I am with
twelve million, which shows the great growth since two thousand nineteen. On this side and previously simply, the Uruguay Visual program, which has been a great tool for the growth of activity in Uruguay, has two columns and we mean two lines of support, one for the production service and another for the co - production. Now, it became an appreciated place for Argentine producers and filmmakers
for reasons ranging from financial and legal security to cost optimisation. During this year of management, more consultations are observed on the possibilities of co- production on projects. In this sense, I say of the work they are doing. If the truth is that growth is constant and from Argentina, for example, we have more and more consultations that goes from projects to what is being is to open companies in Uruguay, yes, and work from Uruguay towards other countries,
which goes beyond Argentina. This is happening on the part of countries in the region and even from Europe, which wants to work not only for Uruguay,
but from Uruguay to other countries. And that goes hand in hand, as we said in the Uruguayadio Visual program, that the bata case line told you the service of production of up to twenty- five percent of evolution co production of casomet is twenty to eighty percent and to the two of us that we do not charge the tax on consumption the bat that is zero, then, on that side, is clear the incentive, more obviously, the great
benefit of the stability of Uruguay, that is what the investments seek. Of course, of course, this and this percentage from 20 to 80 percent varies according to the type of production, the magnitude of the production. That,
in fact, goes hand in hand with the eligible categories of spending. If you with your producers, being Argentina co- produced with Uruguay, it is a local partner, if you already have assured sixty percent of the funding, which is one of the requirements to prove that it is a serious project, as for the State to invest you introduce yourself to the four and then you
present your plan of what you will be spending the money on. It has to be eligible categories in the sense that well, obviously, money is not going to be to buy a house, as it is an audiovisual project. But in the categories we mean that the closer the expenditure, that is the category to the audiovisual activity, if you hire a photo director, for example, the closer it is to 80%. If you hire transportation or lodging, which is clearly necessary, but not so directly related by audiovisual, it
gets closer to twenty. The idea of that rank is to encourage that you spend in the closest to audiovisual activity and get an average of about forty percent and, if you are a humer, that you don' t pay the bad VAT tax, which is twenty- two in Uruguay, that is, you' re saving twenty- two percent more, maybe forty, if that ' s a lot, it' s symphony. It' s very important.
Exactly yes above all for production costs. Not good, in these days that the Malaga Festival is taking place are presented four Argentine co- productions Uruguayan shipwrecks and the lands that compete in the official section plus a blue bird and like the sea what valuation you make of this joint work and to what extent ACAU can contribute to increase these co- productions. Good to give you the reference I' m now at the Malaga Festival. Ah, look at just
accompanying these titles. And also, on the other hand, there is a Uruguayan majority film at the level between the two documentary that is also competing. In other words, there are several Uruguayan titles in different capacities. Majority, Majority And what we say is welcome to the majority or minority co- productions, in which we can participate and learn and make us more agile, more intelligent in the experience with others and grow projects. And Argentina. Well,
we always want to work. In other words, the talent of Argentina is indisputable. I mean, it' s an impressive thing and, on that side, I think that there is also, naturally, the work among Uruguayans Argentina, by idiosyncrasy, by ties, by the ease of connection organically through stories. Yeah, definitely good. In the last edition of Ventana Sur, a protocol on series was signed with INCA, with the National Institute of Film
and Audiovisual Art. What it consists of and how you think it follows the validity of that agreement, well, I have to think about the constructions of what it is, the institutional bonds go beyond sometimes the circumstantial of the people
who are or are and the decisions, that is. The idea is to create institutions and agreements that continue and, as I told you with Argentina, it is organic to work and it was necessary to have on the side of the series that possibility, of that bridge And we believe that good that the times, as if we know, are advancing in different modalities, that this agreement is, is signed, that is, the will was expressed as such.
Then there are the circumstances that make it possible to implement it as soon as possible. But the agreement, in our opinion, is that it demonstrates that intention and that producers can talk to them and, obviously, that they celebrate it, because it consists of the possibility of facilitating not productions and, moreover, supporting them economically, that this is something that already co- productions at the level of television ceris, in different measures, were already taking place.
We' ve been resolving. We are simply going a little behind what is happening among producers, trying to accompany them in their initiatives in a certain way by marking the way. So it is good and what are, lastly, the objectives in this two thousand twenty- four in international affairs and for us it is always, that is, opening up opportunities in different fields. We are trying to consolidate relations with Europe and create opportunities. That is why
we have just signed the agreement with Spain on co- production. We also sign a partnership agreement with the United Kingdom. In the United Kingdom it is an interesting example because it does not sign these agreements. But in this case he decided to sign with Uruguay because again it is like a gateway, thanks
to its stability, to work with the region. And, on that side, what is Europe, which we came from last year, to generate a bilateral fund with Portugal, on the one hand, to consolidate with Italy and we are opening up towards Asia. We' ve also just signed with China, yes, an agreement, but that' s another kind, which is what we always say at the Agency. It' s an ecosystem that we ' re obviously trying to push, and it has different parts, different actors,
and with China it' s talking about another kind of industry. Sure Maybe if you' re not going to have one or one production, but maybe you can have a talent placement or circulation of work, then they go
on other interesting sides. Of course, with India we are working and that is to open up with Asia what we are interested in at this moment, that we think that well, that more is being given, what it is to continue a bond that we started last year and strengthen with the United States, well, that is to say that they are gaining territories little by little. I understand Marcio Migliorissi, Head of International Affairs of the Film and Audiovisual
Agency of Uruguay. Here we thank you for this contact with GPS Audiovisual Radio and we will follow carefully everything that is happening, especially in terms of contacts and co- productions with Argentina. Thank you so much. Many thanks to you and always a pleasure to talk and that is to work with Argentina always with open arms, that the Argentine talent is totally impressive. Thank you very
much. We' re still on radio audio- visual GPS. Cecilia Khan is one of the seven directors called for the cycle Argentine Directors, organized jointly by gender Dak and GPS Audiovisual, which takes place every Tuesday of March and April in the cinema art Cacodelfia at 19 hours. Your documentary started from me a boat carrying me will be shown as a preview on Tuesday the 12th. At 19 hours we are with Cecilia Cana thank you so much for joining us
and for participating in Argentine directors. Cecilia, how are you? You' re too much I wasn' t gonna tell you you were mutated, but now I' m listening. Ah listen well, now yes, yes, now we hear you perfect. Okay. A ship took me away from me. It is a documentary whose starting point is a young Argentine member of the Korean Community in Argentina, who learns about the drama of women sex slaves exploited by the Japanese army during World War II. How you got to that subject.
Cecilia was in a very casual way. I was filming material for my first documentary. I was in Korea, in fact, signing in South Korea, and I had the chance, I was lucky to be able to meet one of these survivors. I just had the opportunity to attend a lecture where
she gave a talk was a grandmother named King Bog Tong. At that time she was ninety- one years old when I heard her testimony, and it was a heartbreaking testimony, because she basically told how she had been kidnapped at the age of fourteen, how she was raped for the first time, how she was raped more than thirty times a day by the shame and guilt she felt for having survived while she left a lot of dead companions and the social
stigma she had to live many years later, even though that one had survived, that atrocious fact. Nothing was a testimony to the truth that very completely broke the truth from me and it was very crazy, because until that moment I was completely unaware about that story, about that portion of history. So that' s what I didn' t have most, not only caught my attention, but I felt like an irresponsibility on my part, like saying how I might not know about this, but it' s a good topic because
of what you notice there on departure from me a boat taking me. It is a very strong issue of invisibility that still persists completely today. Go on. Yes, yes, yes, and under what circumstances you understood that there was a movie there. Okay. It took me many years, actually, to be able to first encourage me to want to make a movie playing this theme. I mean, because after I had, what happened to me was that I' d heard that testimony. It was an experience like it was
marked for me. This happened, this happened to me in the two thousand fourteen, but well, the years passed and I thought, I say well not with this is a subject as very unattainable. How can I talk about this? And actually that was kind of the contingency of the moment and also chatting with my friend and screenwriter from the film, with Virginia Rolfo, I was telling her about this topic and one day we came up with that no,
Virginia came up with a guy. Okay. The starting point was to think about this how to talk about this topic, but from here, from this point in the world, from the other side of the world, being who we are and where we are. And that was a little bit, a starting point that gave me at least the chance to think about this movie.
Not sure, I imagine that because the testimonies are also very hard, but how to turn all that pain and horror into images, not to narrate them from here, as you are saying and I think you found a very powerful point of view, because the film goes beyond that. We' re also not going to spoil, because what we want is for next Tuesday, at 19 o' clock, to be there in Cacodelfia to watch this powerful
Cecilia Can movie. But well, what the Korean community of your generation warns when it hears about this issue, when this topic arises, because the film also raises what happens to young women, not only to power, but well, one of the protagonists, the protagonist, is a young woman. Also, well, that' s something I' d like to know a little
bit about when that movie has been seen here in the movies. We are very, very, very happy for the screening now in Cacodel, the twelve, in this beautiful cycle and also to expectations and preparing the premiere that you are going to very soon this year, in July. So, on the one hand this and, on the other hand, with respect to the subject itself, I think that perhaps unlike my generation, which is a little more
generation, is an earlier one. Today there is a little more information about the Internet and all that generates more information, although it can be from a very superficial place, but even in Korea, not all the militancy that there is for just the search for justice with regard to these issues, the militancy is full of young or less boys from high school, which is, for example, that not these women since the nineties, that was the cousin,
that is to say that in the nineties child and one was the first, one of the first survived the one of the survivors, was the first to give a public testimony and from that it was the first one that was encouraged. And from that every Wednesday they make a protest in front of the Japanese Embassy, according to South Korea, and it' s very interesting because today those protests continue to work on Wednesdays. But I, when we went to sign, was very moving, because that was most of the young, young
boys in Korean society. I would love this to happen even more here,
not only in the Korean community, but also in society at large. These are subjects that I would like to have a little more than a little bit more than the film, even if it can contribute a bit of sand in this question of making this historical fact visible astrid that the truth that very few people know also yes and also, I allow myself to add without advancing anything, the film that also has a universal theme regarding women and the conception that
we have about ourselves, regarding our rights, our body, the availability, of what society expects of us. There is much talk in the film, in this case of Korean society, which is what you expect from women today even and gender- based violence and abuse. In short, all these issues that also confront us here in Argentina and, unfortunately, in so many parts of the world. Well, Cecilia Can, thank you so much for this testimony. This foretaste of birth departed from me a ship bearing a title also
very suggestive. On Tuesday then, at 19 o' clock in cinema art, Cacodelfia you will be presenting our function. And so if we go to the whole team for the protagonist of the film, also to answer questions, so we hope that many people can come that we also expect many thanks, and with Cecilia Khan, we are saying goodbye until next Wednesday Thank you Cabra for accompanying us in the technical operation. Stay on track of radio topic train and you know, as we say, always see cin Argentine, but today
more than ever. Thank you and until next week, this is what we wish you visual radio. We expect you next Wednesday at 19 hours by radio thirty or train cap